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BRITISH
MUSIC PUBLISHERS,
PRINTERS, and ENGRAVERS.
X
BRITISH
MUSIC PUBLISHERS,
PRINTERS and ENGRAVERS:
London, Provincial, Scottish, and Irish.
FROM QUEEN ELIZABETH'S REIGN TO
GEORGE THE FOURTH'S,
WITH SELECT BIBLIOGRAPHICAL LISTS OF MUSICAL
WORKS PRINTED AND PUBLISHED WITHIN
THAT PERIOD.
BY
FRANK KIDSON,
Author of "Traditional Tunes," etc.
I
London - :
W. E. HILL & SONS,
140, New Bond Street, W,
To
My Friend
THOMAS WILLIAM TAPHOUSE,
of 'Oxford,
I Dedicate this Volume,
As a Slight Token of Esteem.
Preface.
As a pioneer work, the present volume must
claim a little indulgence. Excepting a few scattered
notices here and there, nothing dealing with the
subject of the following pages has yet appeared,
and facts bearing on it are scanty and scattered
in many places. The lists of publications are not
put forth as containing all that my material would
furnish, but are merely selections culled to show
types of a publisher's issue ; to fix a date, or give a
variation of imprint. The names attached here
and there are those of the owners of the particular
copies I have consulted and do not imply that such
works may not be in the British Museum or else-
where. Much of the bibliographical matter comes
from my own library, while my friend, Mr. T. W.
Taphouse, of Oxford, has freely (as he has ever
done) thrown open to me his large and valuable
store of rare and unique volumes. The British
Museum has, of course, also furnished much, and
I have to thank Mr. W. Barclay Squire there, for
much helpful courtesy and for the trouble he has
taken in many ways. I must also thank Mr.
Arthur F. Hill, Mr. Alfred Moffat, and Mr. J. E.
Matthew, of London, Mr. John Glen, of Edin-
burgh, Dr. Culwick, and Mr. E. R. Mc Dix, of
Dublin, and others who have furnished titles and
imprints from their collections. Their contribu-
tions are all indicated in the text where they occur,
and it but remains to thank all heartily for their
aid. The references from the Edinburgh direc-
tories for 1804, 1806, and 1807 are from copies in
Mr. Glen's possession. I am also indebted to
Mr. Hardie Brown, bookseller, Edinburgh, for
kindness in allowing me the use of a hie of early
Edinburgh newspapers. I have to thank Mr.
McLauchlan and his assistant at the Dundee
public library for facilities granted in connection
with the Wighton Collection, and a great number
of practical sympathisers with the work.
FRANK KIDSON.
128, Burley Road,
LeeDvS.
January, 1900.
Introduction
THE present volume is an endeavour to place in a form,
convenient for reference, a list of men (a number of whom
were themselves musicians) who have played important
part in the building up of British Music. By its aid it is hoped
that much fresh light will be thrown on the musical history of
the period it covers, and in some degree remove that
uncertainty as to date, with which the average musician,
librarian, or bookseller regards a piece of old music. The
unfortunate habit, in force even to-day, of omitting the year of
publication on musical works has caused more anxiety, trouble,
and vexation of spirit to the antiquary in such matters than
the outsider, unacquainted with the toil of tracking a melody
to its source or of following the career of a musican, can con-
ceive. Prior to the 18th century Playford and the earlier
printers honestly placed the year of issue before the reader,
but the wily John Walsh soon discovered that "women and
music should never be dated," and up to the present the
maxim has been religiously observed. To get at the date of
such undated work it is necessary to find out the business
movements of the publisher; his partnerships, his changes of
address, and the year for such events. In the absence of
publisher's name or initals, the quality of the paper, or engrav-
ing, or if it chance, a dated signature of a former owner all
have to be taken into account before a satisfactory estimate of
a year of publication can be arrived at. The yearly issue by
nearly every publisher of a set of twenty-four country dances
gives absolute dates and so do the inclusion in collections of
airs, songs from the various operas, for there is satisfactory
record as to the performance of these, and however much after,
the work which contains melodies from one cannot be of earlier
date. The London Directories are in some degree of great
use, but this only applies to the comparatively late ones, for
music sellers, even late on in the eighteenth century, were
completely ignored by the compilers of the lists, with the sole
exception of the Thompson family. After about 1780 one or
two other names began to creep in, but very complete lists
were not given until almost the first quarter of the new
century. The London Directories were in this respect far
behind those of Edinburgh and of the English provinces.
The art of music printing followed closely upon the
discovery of letterpress typography ; results being obtained
in various ways on the Continent. The first piece of music
printing in England is a fragment about an inch square, con-
taining but 8 notes, used as an illustration in Higden's
" Polychronicon," printed by Wynkyn de Worde in 1495.
Shortly after this date many musical works issued from the
English presses, being missals for the various Cathedrals.
It is questionable which is absolutely the first secular
musical work printed in England, but one of the earliest is an
oblong quarto work in the British Museum, (attributed to
Wynkyn de Worde) with the printed date 1530. Its title runs :
" In this boke ar Coteynyd XX Soges ; ix of iiii ptes, and xi
of thre ptes [a list follows] . Anno dni MCCCCCXXX,
decimo die mensis octobris," oblong 4to. Another work
which was at one time considered to be of the date 15 19 and
supposed to be printed by John Rastell [or Rastil] , contains
four pages of music, set up from moveable type : — " A New
Interlude, and a mery of the nature of the iiij Elements"
(no printer's name. British Museum). Though there is a
chance that other secular music books had been printed, yet
beyond these two works I have been unable to trace any
others until past the middle of the sixteenth century ; but
Rd. Grafton, John Day, and others were printing Psalters and
other religious musical works freely' All this early music
printing was done from moveable metal type, woodblock,
or other raised surfaces, and it was not until quite late that
engraving was employed in the production of music. It has
been long held that ' ; Parthenia," 161 1, was the first engraved
music, and again it has been recently stated that a work,
entitled " The Noble Arte of Venerie, or Hunting [George
Turberville] ...Imprinted by Henry Bynneman for Christopher
Barker," 1575, 4to, contains music printed from engraved
plates. In this opinion I cannot coincide. The music in
question is the notes for the hunting horn and having care-
fully examined the 1575 and the 2nd edition 161 1, I am under
the conviction that in both copies the music is printed from a
raised surface ; the work is freely adorned with wood-
cuts, so no doubt a wood block has been cut for the purpose
as undoubtedly it would be far the simplest and readiest
method to employ. Perhaps there are earlier engraved
works than " Parthenia," but I do not grant that the " Noble
Arte of Venerie " is one of them. Though there are isolated
instances of music printing from engraved plates, yet for a
very long period the general practice was to have it worked
off from moveable type, right down to almost the end of the
sixteenth century. The Dutch are said to have been the
forerunners in plate music engraving, and by a method of
softening the copper they were enabled to punch the notes on
the plate and so save considerable labour and skill in its pro-
duction. About 1680, plate engraved music became pretty
general in England. John Playford had, however, previous to
this issued several works in which the music was cut on
copper, and he also re-printed others from works done on
it prior to his time.
Hawkins gives the date 1710 for the introduction of the
process of stamping music on pewter plates, naming Walsh
and Hare in connection with it. The process continuing
from that time to this remains the one in general use to-day,
with the advantage of a transfer of the impression to a litho-
graphic stone and the consequent rapidity of production.
The printing of music from moveable type was in great
use from the time of the first printers down to the commence-
ment of the eighteenth century, when, for large works, it
fell entirely in disuse, being superceded by the stamped
pewter plates. Octavo Psalm books, however, continued to be
printed from raised type or woodcuts as also odd pocket
volumes of songs, quite through the century. Fought and
Falkener, however, attempted to revive the type printed folio,
but quite unsuccessfully. Up to about 1687-90 the lozenge
shaped note was always used in typography with the tails of
the quavers and semi-quavers separate. They were joined
together in the modern fashion on plate printed music at and
before this time, but it was not until Heptinstall and after
him Pearson made their improvements that the " new tied
note " came to be used. To-day, the problem of a simple
method of setting up music in type remains undiscovered.
For the simplest line of notation the printer has to use a com-
bination of small pieces and to build the notes up from these
fragments, and in general to make a stereotype block from
the type thus set up before working off an edition. Music
printing is therefore a rather costly matter and only a small
proportion of printers venture into this branch of the trade.
About 1830 a revival of folio type printed music was made
owing to an invention by Edward Cowper, patented in 1827.
The notes were set up in their entirety in copper type, and the
stave lines were printed separately. This double printing
must have been inconvenient, though the results were excellent.
It was, in fact, practically the same with the process
employed in the work dated 1530 above referred to,
Chappell, and Goulding and D'Almaine employed Cowper's
process for a short time only, for they quickly reverted back to
engraved plates. It must have been as late as 1850 before
the general introduction of lithography for music printing, by
means of a transfer from an engraving on to the stone. Thirty
years prior to this, a Birmingham man, W. Hawkes Smith,
had produced several music sheets by drawing on the stone,
and shortly after lithographic vignettes began to be used on
the engraved title-pages.
Having referred to the mechanical difficulties of music
production, it now remains to show how this was hampered
by State interference. Under the plea that the exercise of
printing was subject to the direct approval of the sovereign,
Several monarchs attempted meddling in the craft and granted
licenses to a favoured few. Queen Elizabeth, as a reward for
services rendered at the Chapel Royal by two musicians,
Thomas Tallis and William Birde, granted to these, con-
jointly, or the survivor of them, the sole power to print or
allow to be printed musical works in England, with the
additional grant of veto to all imported music. This arbitrary
patent, we may well imagine, exercised a most mischievous
effect on the production of music when the art was at one of
its brightest periods and when British born talent met with a
ready recognition, which it has, since those days, had to fight
hardly for. The Patent, as printed at the end of a work of
sacred music printed by Thomas Vautrollier in 1575, is as
follows : —
"Elizabeth, by the grace of God Quene of Englande,
Fraunce, and Ireland, defender of the faith, &c. To all
printers, booksellers, and other officers, ministers, and
subjects greeting, Know ye, that we, for the especiall
affection and good wil that we have and beare to the science
of musicke, and for the advancement thereof, by our
letters patent, dated the xxii of January, in the xvii yere
of our raigne, have granted full priviledge and license unto
our welbeloved servaunts, Thomas Tallis and William
Birde, gent, of our chappell, and to the overly ver of them,
and to the assignes of them and of the surviver of them,
for xxi yeares next ensuing, to imprint any and so many
as they will of set songe or songes in partes, either in
Englishe, Latine, French, Italian, or other tongues that
may serve for musicke either in churche or chamber, or
otherwise to be either plaid or soonge : And that they
may rule and cause to be rulled by impression any paper
to serve for printing or pricking of any songe or songes,
and may sell and utter any printed bokes or papers of any
songe or songes, or any bookes or quiers of such ruled
paper imprinted. Also we straightly by the same forbid
all printers, booksellers, subjects, and strangers, other than
as is aforesaid, to do any the premisses, or to bring or
cause to be brought out of any forren realmes into any of
our dominions any songe or songes made and printed in
any forren countrie, to sell or put to sale, uppon paine of
our displeasure : And the offender in any of the premisses
for every time to forfet to us, our heires, and successors
fortie shillings, and to the said Thomas Tallis and William
Birde, or to their assignes, and to the assignes of the
surviver of them, all and every the said bokes, papers,
songe, or songes. We have also, by the same, willed and
commanded our printers, maisters, and wardens of the
misterie of stacioners, to assist the said Thomas Tallis
and William Birde, and their assignes for the dewe
executing of the premisses."
Thomas Tallis having died in 1585 Birde alone held it and
assigned the privilege to Thomas Este and perhaps others.
Birde's patent expired in 1595, before his death, and for some
three years it was not renewed. During this time T. Este and
Peter Short were printing music books, probably by license
granted from the officers of the Crown. In 1598 a fresh
patent was assigned and this time to Thomas Morley, a pupil
of Birde's, and (as Tallis and Birde had also been) a Gentle-
man of the Chapel Royal. The pay of this office was about
sevenpence a day, so it was easy to understand that the rights
over music printing were given as an addition to this small
emolument. Morley's patent was similar to Birde's.
It must be noticed by the wording of the first patent
that ruled paper for music writing was included in it,
but only that produced by impression, so that the musician
was at least free to rule his own paper. The number of
exclusive patent rights granted by the Crown for all kinds of
things to merely private persons became so dangerous that the
House of Commons took notice of the matter, and in 1601
Morley himself had to answer questions put by the House
regarding his privilege, but though this held good, yet, after
its expiration, English music production became free to all.
Morley assigned licenses to Peter Short, Thomas Este, and
William Barley, and having died in 1604 the patent then came
into possession of William Barley, who allowed Windet, and
others to print under his assignment. I think it is likely that
the privilege came to an end in 1614, as I can find no reference
to it after that date, and others, besides the older printers,
then appear in the field. Though printing was now more or
less free in England, yet it was not so in Scotland, as will be
seen by a brief notice on page 177 of the present volume.
From what may be termed the Madrigal Era — roughly
between 1590 and 1620 — the production of music books fell
off considerably in spite of a free music press. Between the
above dates numbers of excellent works had been given forth,
and this even under restrictive license. There must have been
some radical change in popular fashion for light singing
appears to have ended and given place to more weighty
matters. Charles the First had come to the throne and internal
troubles were brewing. Psalm tunes still came forth for
they appealed to the serious ones of both parties. Although
Prynne had written his work against music and stage plays
and been mutilated, pilloried, and condemned to imprisonment
for life in consequ ence, yet, people cannot be made merry
by Act of Parliament ; a wet blanket seems to have been cast
over secular music, until strange enough as it may seem the
Commonwealth was declared. It was then that John Play-
ford came to the rescue of English music and from 1650,
onward to the beginning of the eighteenth century he and his
sons were its pillars. Then followed Walsh and music
printing became general.
music Printers ana Publislxrs.
a
Condon.
This was the sign of a music shop named the
" Little a," at 41, Leadenhall Street, under the
proprietorship of W. Bailey (see Bailey).
Adams, Thomas. At the White Lion, in St. Paul's
Churchyard. He was one of the
early music publishers and employed Thomas Este, Peter
Short, and others, to print books of airs and songs. His
earliest recorded date seems to be 1603 an d the latest, 1614.
1603. The Third and last Bouke of Songs or Aires, newly com-
posed to sing to the Lute, Orpharion, or Viols. By John
Dowland. Printed at London by P.S. [Peter Short] for
Thomas Adams, and are to be sold at the Signe of the
White Lion, in St. Paul's Churchyard, by the assignment
of a patent granted to T. Morley. I603. Folio.
1606. Songs for the Lute, Viol, and Voice, composed by J. Danyel.
Printed by T. E. [Thomas Este] for Thomas Adams.
1606. Folio.
iOoy. Deuteromelia, or the second part of Musick's Melodie,
London, Thomas Adams, etc. 1609. 4to. (Matthew.)
1609. Andreas Ornithoparcus, his Micrologus. John Dowland.
Printed for Thomas Adams, dwelling in Paule's Church
Yard, at the Signe of the White Lion. 1609. Folio.
(Music cut in wood). (Taphouse.)
1610. A Musicall Banquet. Robert Dowland. 1610. Folio.
{Matthew.)
161 1. Melismata, Musicall Phansies, fitting the Court, Citie, and
Countrey. Printed by William Stansby for Thomas Adams.
161 1. 4to. (Matthew.)
1614. A Briefe Discourse of the true (but neglected) use of
charactring the Degrees by their Perfection, Imperfection,
and Diminution, in measurable musicke. By Thomas
Raven scroft Printed by Edward Allde for Thomas Adams.
1614. 4to.
The full titles of these and many other of the early
printed music books (between 1588 and 1638) quoted in the
present volume are accurately given in that valuable little
record Rimbault's " Bibliotheca Madrigaliana " 1847. A
number of the originals are in the British Museum, and in the
old Sacred Harmonic Society's library. Mr. Taphouse, of
Oxford, and Mr. J. E. Matthew, of Hampstead, are also the
fortunate possessors of many of these now unobtainable
examples.
Allde, Kdward. An early printer. Johnson, the
typographer says "He dwelt at
the sign of the Golden Cup, without Cripplegate, in 1587, till
after 1600." Allde printed at least two music books from
moveable type after this latter date.
1614. "A Briefe Discourse." By Thomas Ravenscroft (see Adams).
1615. Sacred Hymnes, of 3, 4, 5, and 6 parts, for Voyces and
Vyols, newly composed by John Amner. . . Printed by Edw.
Allde, dwelling neere Christ Church. 4to.
Andrews, W. It is n °t improbable that one of these
was the Andrews in partnership with
Robert Birchall. Some time about,
Andrews, ri. or prior to the year 1790, W.
Andrews issued Sheet Music from 12, London Road, South-
wark, and H. Andrews apparently succeeded to the business
here, but with the number altered to 1 1 , London Road.
Sheet songs are found bearing this latter name and address,
one being from " Cymon," an opera, revived on a grand scale
at the Haymarket, on Dec. 31st, 1791. Near the year 1800,
H. Andrews removed to 11, Kendall Place, Lambeth, which
address became, before 1805, IX > Little Canterbury Place. A
reference to maps of London will show that these are identical
and that the re-naming of the street occurred about 1803-4.
From Little Canterbury Place he issued the bulk of his
publications between 1804 an d 1810. These include a series
of " Five Favourite Dances," folio, Numbers 1 to 39 (7, 8, and
9 dated 1805), and a small oblong volume for the flute "The
Gentleman's Vade Mecum," besides much sheet music.
Andrews' name is in the Directory for 1807, but ^ is probable
he did not print after 181 0-12.
At one time Andrews was in business connection with
G. Verey, their names appearing together on sheet music, and
in some cases with Andrews' name stamped over that of
Verey's, imperfectly erased from the plate.
Some of Andrews' dances were reprinted at a later date
by W. Sibley.
AstOF, George. The elder brother of John Jacob
Astor, the American millionaire, and
born of peasant parents at Waldorf, near Heidelberg. He
came as a young man to England about 1778, and getting
employment at one of the makers of musical instruments,
induced his younger brother John Jacob to join him in London.
Here, after working as journeymen, the two brothers set up
together in a small shop.
3
In 1783 John Jacob determined to visit another brother
then resident in America, and took this opportunity, or made
it the primary object of his voyage, to try to establish an
opening for the sale of musical instruments. He took with
him a small consignment of flutes, not more than £5 worth,
and sailed for Baltimore.
On the voyage out he became acquainted with a fellow
passenger who advised him to invest his money in furs.
Having disposed of his flutes, Astor followed the suggestion,
and getting back to London, he found the fur trade much more
profitable than working as a musical instrument maker. He
returned to America, and in 1 795 had become so prosperous that
he was enabled to give a carte blanche order to Mr. John
Broadwood for a grand pianoforte, to be sent out to him in
New York; a fact testified by a letter still preserved by
Messrs. Broadwood.
In 1809 he established a Fur Trading Company, ultimately
making a large fortune in this and by the acquirement of
property in the fast growing city of New York.
Meanwhile George Astor remained in London, and in
1794 had a small shop at 26, Wych Street, near Drury Lane,
where, in the Directory for that year he is designated as
" Musical Instrument Maker." He retained this place of
business till after 1797, and in 1798, having apparently pros-
pered, he removed to larger premises at 79, Cornhill, and here
commenced the business of music publisher, having besides
another address at 27, Tottenham Street, near Fitzroy Square ;
this was probably the manufactory for instruments.
He was now, according to an advertisement bearing the
date 1800, " Manufacturer of Grand and Small Pianofortes
and Musical Instrument Maker to His Majesty's Army."
In 1801-2 he entered into partnership with others, and the
firm became "George Astor & Co." From 1807 to 181 1 they
had, in addition to the Cornhill establishment, another one as
" Organ Builders," at Sun Street, Bishopgate Street, but
shortly after the last-named date this address is dropped. In
1815 the firm is "Astor & Horwood, 79, Cornhill"; George
Astor issued yearly collections of 24 Country Dances for the
Violin, which were continued by Astor & Horwood ; those for
1803 an d 181 8 being in the British Museum Library. . Some
Sheet Music and a Flute Preceptor also bear Astor's imprint,
but I have seen no more important work.
In 1824 the firm at 79, Cornhill, was Gerock, Astor & Co.,
C. Gerock, with Wolf, being makers of pianofortes.
In 1825, in addition to the Cornhil] traders, another
"Astor & Co." is at 61, Lamb's Conduit Street.
Atkins, Thomas. A music engraver, whose name
is affixed to a book in oblong 4to,
bearing the date 1728, Galliard's "Hymn of Adam and Eve"
(afterwards re-published by Walsh). Atkins also engraved a
fine folio work by Dr. Croft, " Musicus Apparatus
Academicus," being two Odes performed at Oxford in 171 3.
This bears the imprint of Richard Meares, and is in date
about 1720.
Babb, S. Had an extensive business at 132, Oxford
Street, facing Hanover Square, between the
dates 1770 till shortly after 1780.
His publications were sheet music, including many of
Handel's pieces, as well as some catches and glees. He
published a set of duets by Giordani, in oblong folio, and the
songs in Gretry's Opera " Zemireet Azor " [Dec. 16th, 1771]
He was probably the first to print "Auld Robin Gray," as set
to Leeve's air.
He retired from business after 1780, and his whole stock-
in-trade and Musical Circulating Library were sold to Joseph
Dale, who had then a very small establishment in a private
house in Chancery Lane. If we are to believe an advertise-
ment issued by Dale at this time, Babb's Musical Library
numbered over 100,000 books, among which we imagine would
be many treasures of musical antiquity. Dale having removed
his trade to Babb's old premises, established here one of
the most important businesses of his time.
Bailey, W. Published about the years 1770- 1785
many engraved sheet and half-sheet songs
at the sign of the " Little a," 41, Leadenhall Street.
The name of Bailey is frequently absent and the imprint
generally gives " printed and sold at the Little a," with the
address, though some few sheets bear W. Bailey in addition.
Some of his songs are in my own, and others in the British
Museum Library, and one in the latter bears date 1780 as given
below. The same Bailey or his son having a similiar sign in
large wooden letters over his door is mentioned by Mr. Tuer
5
in his reprint of " Dame Wiggins, of Lee," as having been a
notable letterpress printer in Bishopgate Street.
" A Song made for the True Blue frigate who has taken her station
off Tower Hill this day, February 29th, 1780."
" A favourite Peel on Eight Bells called a course of Grandsire
Trebles."
"Nancy My Wife," "The Wretched Captive," with other half-
sheet songs.
Bainbridge, Wm. A flute-maker and patentee of a
double flageolet. He was also
" principal oboe, flute, and flageolet player at Astley's Theatre,
and at Sadler's Wells." .
His instruments, including the rather curious double
flageolet, are now occasionally met with, and in their day they
bore a well merited reputation.
He was first at 2, Little Queen Street, but about 1800-5
he had his shop at 35, Holborn Hill, with which address most
of his flutes are stamped.
From here he issued several books of airs and instructions
for his instruments. At one time he was in partnership with
a person named Wood.
Circa 1805. " I Dolce Flauti or the Mellifluous Flutes," arranged ex-
pressly for Bainbridge's new patent double flute by John
Parry, oblong 4to.
Bainbridge's & Wood's "Flageolet Tutor," whereby any
person may play songs, tunes, etc., without learning notes,
oblong 4to.
Baldwin, Richard. " Near the Oxford Arms," in
Warwick Lane, printed and
published a literary and musical magazine, issued monthly,
bearing the title : "The Gentleman's Journal, or the Monthly
Miscellany, by way of letter to a gentleman in the country,
January, 1691/2, London, 1692." 4to. Later ones are printed
and sold by R. Parker, at the Unicorn, under the Piazza, at
the Royal Exchange in Cornhill ; and by R. Baldwin, near the
Oxford Arms, in Warwick Lane, and at the Black Lion in
Fleet Street, between the two Temple Gates, 1693.
The musical portion consists of Songs set up in moveable
type. Copies are in the British Museum.
Another Richard Baldwin published Knapp's " New
Church Melody" in 1756 and 1764.
Balls, Tames. A pianoforte maker as well as a music
engraver and publisher. An early
notice of him is in connection with a pianoforte patent taken
out November 16th, 1790 (see Brinsmead's " History of
the Pianoforte." About this date and a little later some sheet-
songs are "engraved by J. Balls, of 8 Middle Scotland Yard,
Whitehall," or "Westminster," and others, printed before
this year have the imprint "Sold at Ball's Music Shop, No. i,
Duke Street, Grosvenor Square." (Folio volume, with MS.,
date 1790, in British Museum).
In 1806 the Directory, as well as sheet-music and piano-
fortes give his address at No. 26, in the same street, but on
engraved music for "La Belle Assembee," July — Sept., 1807,
his address changes again to 12, Castle Street, Leicester Square.
About then he appears to go into partnership with
George Balls, removing about 1809 to 408, Oxford Street,
where so late as 1853 descendants of the family " Eliza Balls
& Co." still remain. About 1815-16 the original name James
Balls alone holds and continues till at least 1822, and George
Balls seems to have gone to "151, Chestnut Street, Philadel-
phia," — while another relation, T. Balls, is at " Norfolk,
America," acting as agents for their English relation. Besides
sheet-music Balls issued some oblong quarto collections of airs
for the German flute. "The Gentleman's Amusement," Books
I to IV, 1817-20.
The directories for 1823-24 give: " Ball & Son, Grand
Pianoforte Makers, 27, Duke Street, Grosvenor Square, that
for 1825 " Edward Ball." Though generally spelled with
the s, the name is sometimes "Ball" on imprints and in the
directories.
Barley, William. A bookseller and printer who in
1592 lived in Gracechurch Street.
His latest date seems to be about 1614. He acquired
from Thomas Morley the patent of the exclusive right
to print music, granted to the latter sometime about 1598.
Barley probably made a profitable transaction out of this license,
for from 1599 to 1614 printers of music books, including John
Windet, Thomas Este, and others, make acknowledgement of
the assignment on their imprints. The books which bear
Barley's name as printer are not very numerous ; they include :
1596. A Newe Booke of Tabliture containing sundrie Instructions
showing how to attaine the knowledge to guide and dispose
thy hand to play on sundry instruments. . . Printed for
W. Barley, T596. Oblong 8vo. (British Museum.)
1599. The Pathway to Musicke, contayning sundrie familiar
rules for the ready understanding of the scale. . . Printed
for W. Barley, 1599. Oblong 8vo.
1599. Pavans, Galliards, Almains, and other short ^Eirs, both
grave and light, in 5 parts for Viols, Violins." . . Anthony
Holborne, printed by W. Barley, the assigne of T, Morley,
1599. 410.
1599- " The Psalms of David in Meter." 1599. Folio.
1599, The First set of English Madrigals to foure voices newly
composed by John Farmer, practicioner in the art of
Musicque, Printed at London in Little Saint Helens by
William Barley, the assigne of Thomas Morley, and are to
be sold at his shoppe in Gratious Streete, Anno Dom. 1599.
4to. (Matthew.)
1599, Madrigalls to foure voyces newly published by John
Bennet, his first works At London ; printed in Little Saint
Helens by William Barley, the assigne of Thomas Morley.
1599. (Taphouse).
1608. Ayeres or Phantasticke Spirites for three voices, made and
newly published by Thomas Weelkes. . . London, printed
by William Barley, and are to be sold at his shoppe in
Gracious Street. 1608. 4to. (Taphouse.)
1609. Pammelia : Musicks Miscellanie or mixed varieties of Pleasant
Roundelayes and delightfull catches. . . London, printed by
William Barley for R.B. and H.W., and are to be sold at the
Great North doore of Paules. 1609. 4to.
1609. "New Citharen Lessons, with perfect tunings of the same,"
Thomas Robinson. 1609. 4to.
Bates. Christian name not known. Published about
1 810 a couple of small oblong volumes, containing
airs for the flute, of which instrument he was probably a
maker. The title runs " Bate's Universal Melodist or elegant
selection of the most celebrated Songs, Duetts, etc." . . .
London, published by the Editor, St. John's Square, Smith-
field. Oblong i6mo. 4 books.
Bennett, X. 6i, Holborn, near St. Andrew's Church,
published in 1766 the third edition of
" Plain and Easy Instructions for the German Flute by Lewis,
C.A., Granom," the frontispiece is dated December 13th, 1766
(quarto) (Taphouse). His better known work was "The
Musical Magazine," which appeared in sixpenny numbers from
1767 to 1772, making 6 vols, of large octavo; this was issued
in conjunction with W. Bingley, 31, Newgate Street.
Bennison, X. X. 5 1 ) Albermarle Street, Piccadilly,
a publisher of short lived business
career, near the years 1800-5. He issued sheet music and
about 1806 Messrs. Pearce & Co., of 28, Haymarket, announce
on No. 3 of their "Popular Dances," that they have
" purchased the whole of Mr. Bennison's plates, stock-in-trade,
etc.," and are about to re-issue the same.
Benson, John. A bookseller who in the early years
of John Playford's career was associ-
ated with him. This may be gathered from the imprint of
the first edition of " Catch that Catch Can." — " Printed for
John Benson and John Playford, and to be sould in St. Dun-
stan's Church Yard and in the Inner Temple near the Church
doore, 1652."
Bew, John. 2 8, Paternoster Row, was a bookseller
from before 1774 to 1795, who published
many little and interesting works, half chap book in character,
but his only musical production that I have seen is the 4th
volume of " Vocal Music or the Songster's Companion " (the
music being from type), dated 1778, i2mo. Robert Horsheld
was the publisher of the previous volumes. Bew's publications
include " A New Academy of Compliments, 1784," a quaint
book of songs without music.
Bickham, George, Junr. An engraver principally
known by his " Musical
Entertainer," two large and handsome folio volumes. The
book consists of two hundred finely engraved plates of songs
with pictorial headings and surroundings, published in six-
penny numbers, of four plates, each dedicated to different noble-
men ; it appeared during the years 1737 and 1738. Unfor-
tunately the work is now seldom to be met in perfect condition,
thanks to the industrious collectors of Vauxhall, Marylebone,
and Ranelagh literature and illustraton, who have seized upon
the plates bearing reference to their pet subjects. Most copies
of the book bear the imprint of Charles Corbett, at Addison's
Head, Fleet Street, but it is evident that the plates were only
re-issued by him for an advertisement of "No. IV, Vol. II,
price 6d," from a 1738 magazine, forwarded to me by Mr.
Arthur F. Hill, shows that it was " printed for and sold by T.
Cooper at the Globe in Paternoster Row, where may be had
any of the former numbers of the volumes and the first volume
complete at 12s. 6d." N.B. There is a mickry of the
Musical Entertainer published with little success, its the same
size plates, the rappers like this, therefore don't be deceived
and take that for this. The designs are in a poor Dutch taste,
though with an Italian name, and the engraving in general in-
correct and bad, being not done by the best hands."
I am unable to identify this denounced work ; it can
scarcely be " British Melody," which is dated 1739 and
engraved by Benjamin Cole not "with an Italian name,"
otherwise the two books are exactly similiar in size and style.
Miss Lucy E. Broadwood forwards me, from a copy in her
own library, the following imprint on the first volume of the
"Musical Entertainer," "London, printed for and sold by Geo.
Bickham at his house, ye corner of Bedford Bury, New
Street, Covent Garden," plates dated 1737 as in other copies ;
this is undoubtedly the very first issue of the plates. Mr. J. E.
Matthew, also possesses one of these early editions.
Bickham published no other musical work that I can find
but a" Universal Penman ', and a kind of guide to Hampton
Court and Windsor Castle with plates, bear his name. This
latter was published by T. Cooper in 1742 and was sold by
G. Bickham, Junior, at May's Buildings, Bedford Court,
Covent Garden.
Birchall, Robert. One of the important London
music publishers. From his early
imprints we learn that before commencing business he was
employed by William Randall at Walsh's old shop in Catherine
Street. He probably left here on Randall's death and set up
in business at 129, New Bond Street, sometime near 1780.
About this period he, for a short time, was in partnership with
T. Beardmore at the same address, but this connection cannot
have lasted any length of time, for as early as 1783-5
we find the firm as Birchall & Andrews, which probably
ceased before 1790. Werner's Dances for 1783-5 bear their
names.
It is unfortunate that I cannot fix more definite dates for
the above, but prior to 1792 the directories are silent regarding
Birchall, and absolutely the first notice of him I have yet found
is a proposal dated June 22nd, 1783, (given in Burney's Handel
Commemoration, 1785) for publishing a complete edition of
Handel in 80 folio volumes.
The following is part of the proposal : — "June 22nd.
1783, Handel's Music. Proposals for printing by subscription
by R. Birchall (from the late Mr. Randall's, Catherine Street),
No. 129, New Bond Street. Complete scores of all the com-
positions of G. F. Handel, not hitherto perfected The
whole of which is computed to make about eighty folio volumes
containing one with another near one hundred and fifty pages
each Subscriptions received by Birchall at his music shop
No. 129, New Bond Street, London." Whether this scheme
so far as as Birchall was concerned fell through or not I can-
not tell, but about 1786 Dr. Samuel Arnold either alone or in
conjunction with Birchall proposed a similiar edition which
was carried through to the extent of about forty volumes in
large folio.
As before said, after a partnership with T. Beardmore,
came Birchall & Andrews with publications of dance music
in oblong quarto, but this is by no means a very frequent
10
imprint, and the firm cannot have lasted much above a year or
so. The Directory in 1792 gives its first notice of Birchall
and from it we learn that his address is now 133, New Bond
Street, instead of the previous No. 129. This new number
holds good till 1823-4, when as Birchall, Lonsdale and Mills
the firm is given as at 140 in the same street. These premises
are now occupied by W. E. Hill & Sons, the celebrated
violin makers and experts. In the first part of his business
career Birchall adopted the sign " The Handel's Head,"
and I am indebted to Mr. Barclay Squire for pointing out
that the original bust held, till a late period, a place over the
shop front.
After his partnership with Andrews, Birchall appears
to have pushed his business forward vigorously and
to have established an extensive musical circulating library,
rapidly coming to the front as a publisher. About
the end of the century he published a quantity of Italian vocal
music, then in such great demand ; much of this is in oblong
folio. A great number of glees, also appeared singly as well
as in large collections — Horsley's and Callcott's, several books
in oblong folio.
He issued many single pieces of Handel's, and altogether
a mass of sheet and other musical publications much too large
to indicate. One of his series was a re-issue and a continuation
of Campbell's "Country Dances and Strathspey Reels" in
oblong quarto. This extended to at least the 27th book,
circa 181 1. The set was originally commenced by Wm.
Campbell, the music publisher, but Birchall acquired the
plates.
After making his business one of the largest of its kind in
London, Robert Birchall died in 181 9. The firm now or
shortly after (1821) became Birchall, Lonsdale, and Mills. In
1830 it is Lonsdale and Mills, and before 1838 these two
separate, C. Lonsdale going to 26, Old Bond Street, and R.
Mills retaining the old address at 140.
It is said that Samuel Chappell learnt the business with
Birchall.
C. 1783. Twelve Italian Canzonetts for the Voice and Harpsichord by
John Burton, Op. III. London, printed for R. Birchall (from
the late Mr. Randall's, formerly Walsh's in Catherine Street,
Strand) and T. Beardmore, No. 129, New Bond Street, (over an
earlier erased imprint). Folio.
C. 1783. " Take O Take those lips away." (Sheet Song, same im-
print.)
11
C. 1785. " XII Favourite Minuets for the Harpsichord or Pianoforte,
composed by the celebrated Guiseppe Haydn, of Vienna."
London, printed and sold by Birchall & Andrews, at
Handel's Head, No. 129, New Bond Street, of whom may be
had all the above author's works. Oblong 4to,
C. 1785. " Ten Minuets Twelve Country Dances," performed at the
Festino Rooms, Hanover Square. (Same imprint over an
earlier one erased.) Oblong 4to.
C. 1785. " Six New Minuets with three favourite cotillions." . . By
Francis Werner, London, printed for Birchall & Andrews,
No. 129, New Bond Street. Oblong 4to.
C. 1790. " A Set of Glees . . with the Dirge in Cymbeline," . . by
Maria Hester Park, printed for the author and sold at
Birchall & Andrews music shop, No. 129, New Bond Street.
Oblong folio. (Walter Ron<ley).
Blackman, ^A/\ A Southwark music seller living at
15, Union Street, who about 1810-15
was in a small way of business and issued sheet music. This
includes a "New and improved Edition of Popular Songs, price
6d singly or 1/- per sheet," " Black Ey'd Susan," and " The
Arethusa," being Nos. 4 and 6. His best known publication
is "The Harmonic Cabinet or Kentish Harmony," or "The
Harmonic Cabinet or Vocal Harmonist in Minature," or
"Kentish Harmony," for editions appear under all these
three titles. The book is a neat well engraved work in six
small square shaped volumes. One edition bears the date
1 82 1, and another, being later, instead of the Union Street
address is " published by W. Blackman, Music Seller, 5,
Bridge Street Borough " ; this is about 1832 in date. The
Directories give him at this latter address in 1823, 1825, etc.
Bland, Anne. There were two London music pub-
lishers of this surname, John Bland,
of Holborn, and the present. Anne Bland as " Music Seller,
Oxford Street " is given in the Musical Directory for 1794, an
excessively rare volume, which Mr. Arthur Hill kindly places
at my service. Anne Bland was established at 23, Oxford
Street prior to 1790, and issued sheet music and yearly sets of
dances. In 1793 she went into partnership with Weller, and
Bland & Weller remained the firm till 181 8, at which date
Bland's name is absent either by death or retirement. From 1819
to 1 82 1 the name given in the Directories is Weller & Co. ;
it is not present in 1820. Bland & Weller did a rather exten-
sive trade and published Hook's collections of Vauxhall Songs
from 1793 till at least 1800, yearly books of Country Dances,
and Sheet Music. They also re-issued a book of Scotch airs,
originally published by James Oswald. In 1805 the firm pur-
12
chased from Charles Dibdin, who had got tired of his music
publishing business, the copyright of three hundred and sixty
songs together with his musical stock for the sum of £1800
and an annuity of ^"100 for three years. These songs they of
course re-issued. About 181 8- 19 on what may be presumed
the death or retirement of Bland, J. Diether, a rising music
publisher, bought many of the Dibdin copyrights and plates.
C. 1790. Ah! Ca Ira. Dictum Populaire. . . . Chante a Paris.... Le
14 Juillett. 1790. London, printed for A. Bland, 23, Oxford
Street. (Sheet Song."
T792. Twenty four Country Dances for the year 1792. (Same
imprint starts at page 1 j showing there must have been a
set for 1791).
1793. A Collection of favourite Songs.. Sung at Vauxhall, Com-
posed by Hook. A. Bland & Weller, 23, Oxford Street.
1795, 1799, 1800. Ditto, each with an engraving of Vauxhall.
C. 1795. A Violin Tutor with same plate of Vauxhall.
C. 1800. Bland & Weller's Collection of Waltzes and Scotch Reels.
Oblong 4to.
18 16. Twenty Four Country Dances for 1816.
1819. Ditto for 1819.
"A Collection of 43 Scotch Tunes with Variations....
Dedicated to the Earl of Bute, by James Oswald. London,
printed and sold at Bland and Weller's Music Warehouse,
23, Oxford Street. Folio.
"Bland and Weller's Pocket Companion for the German
Flute." Oblong i2mo.
Bland, John. 45> Holborn, probably a brother or
other relative of the preceding Anne
Bland. He became one of the important music sellers of
London. The earliest date I can find for his publication is
" August 24th, 1779," etched with his name and address under
a vignette heading to a sheet song. He early commenced to
print the popular English Operas in oblong folio, with smaller
editions in oblong quarto, arranged for the flute or violin.
These, with their songs printed singly, include "The Spanish
Barber," acted 1771 (printed 1781); "The Agreeable Sur-
prise," 1781 ; "The Poor Soldier," 1783, etc. He also issued
a great number of catches and glees, separately published, as
well as in collections. Among these two folio gatherings,
considerately assorted into the " Ladies' Collection," and the
" Gentleman's Collection." The songs of Handel, possibly
from the plates of Walsh and Randall, and miscellaneous
sheet songs also bear his imprint. In 1787 he was com-
missioned by several gentlemen to seek out Haydn in Vienna,
with a view to bringing him over to England. Here he is
13
said to have been the hero of the Razor quartette incident,
which, without a guarantee of its truth may be briefly told as
follows : — Bland found Haydn, shaving and cursing the fates
which had only provided him with a continental razor. The
musican swore he would gladly give his best quartette for
a pair of good English made implements. Bland accepted the
offer at once and produced his own set to the satisfaction of
composer and publisher. Haydn came to England in due
course, and was for a period a guest of Bland's over the music
shop in Holborn.
John Bland must have died or ceased business in the latter
portion of the year 1794. His name did not drop out of the
London Directories for 1794, though it is absent from the
Musical Directory the same year and the ordinary London ones
after 1795. His business premises passed into the hands of
" Lewis Houston and Hyde," and then into those of F. Linley,
both of whom proclaimed themselves "successors to Mr.
Bland, 45, Holborn." It is rather difficult to settle which had
the priority, but neither can have held any length of time.
William Hodsoll, who in 1794 was a music seller at Seven
Oaks, in Kent, came to the front, and before 1800 was estab-
lished in Bland's old shop, which he held till at least 1830.
In 1840 Zenas T. Purday was owner.
1779. " The good subjects of old England in Glee" [a vignette of
a drinking party; underneath is faintly etched "1779, pub-
lished August 24th. J. Bland, 45, Holborn." Sheet song in
the British Museum.]
1787, etc. " The Gentleman's Collection of Catches," selected by
John Bland (one number dated Jan. 1st, 17S7). Several
books. Folio.
C. 1787, etc. " The Ladies' Collection of Catches, Glees, Canons" . . . .
Selected by John Bland. At least twelve books. Folio.
" Webbes 5th, 6th, and 7th collection of Catches and Glees."
Oblong Folio. (Welcker published the 4th and F. Linlev
the 8th).
" Danby's collection of Glees, etc." Many of the Operas of
the day in oblong folio and quarto.
Bllindell, Tames. Was established at no, St.
Martin's Lane, about or before
1778. On some of his imprints he states that he is son-in-law
and successor to the late Mr. Welcker, of Gerrad Street, Soho.
He removed near the end of the year 1780 to 10, Haymarket,
a shop up to that time occupied by his brother-in-law, John
Welcker, and became music seller to his Royal Highness, the
Duke of Cumberland. He published sheet music in limited
quantity and instrumental works, also continued the series of
14
Opera Dances danced at the Haymarket, commenced by the
Welckers. I have not found a later date for him than 1782,
about which year his business must have come to a conclusion.
C. 1778. Overture of the celebrated C. Vanhall. J. Blundell, no,
St. Martin's Lane.
C. 1778. Six Sonatas.. for the harpsichord or pianoforte .... By
Jacob Kirkman, printed and sold by James Blundell, no,
St. Martin's Lane, son-in-law and successor to the late Mr.
Welcker, Gerrard Street, Soho. Oblong folio.
C. 1779. Warren's Glees, 17th collection. (Same address).
1780. Ode in honour of Earl Cornwallis' Victory over General
Gates.. 16th August, 1780, J. Blundell, 10, Haymarket.
1 78 1. The Celebrated Dances performed by the Messrs Vestris
and at the King's Theatre, Haymarket. 1781, composed by
G. B. Noferi, Book 1, printed and sold by James Blundell,
music seller to his Royal Highness the Duke of Cumber-
land, 10, Haymarket. Oblong 4to.
1782. Blundell's Dances for 1782.
Boag, W. His address was No. 11, Great Turnstile,
Lincoln's Inn Fields, and he proclaimed
himself "a purveyor of cheap music." He published a
quantity of sheet songs, principally Scotch, and was in business
probably from about 1790 to about 1825. His name is not in
the Musical Directory for 1794, but in the London ones for
1796 to 1799. His music is rather coarsely but boldly
engraved.
C. 1790. " Of a' the airts' the wind can bla\v"....by the celebrated
Robert Burns, printed and sold by W. Boag at his Cheap
Music Shop, No. n, Great Turnstile, Lincoln's Inn
Fields.
C. 1790. "O Say Simple Maid,'' "The Wounded Hussar," and
other sheet songs.
C. 1795. A Choice Selection of Ancient and Modern Scotch Songs..
Selected from the celebrated poets, Ramsay, Burns, etc.
London (same imprint, pp 3S, folio). (Taphouse.) [This is
merely a re-issue with a title page of his single sheet and
half-sheet Scotch songs.]
C. 1825-6 Overture to Harlequin and Oberon, by the late Mr. Wm
Reeve. London: W. Boag, n, Great Turnstile. Folio.
[Acted 1796: Reeve died J815 : water mark of paper of this
copy 1825.]
BOW Church Yard. A printing and publishing office
in the narrow thoroughfare
running by the side of Bow Church, off Cheapside. It was
held by Cluer in 1720, and afterwards by Dicey. Some im-
prints bear the date 1738. Ballad sheets and broadsides were
printed here as well as engraved music. I am in possession
15
of several early ballads "printed and sold in Bow Church
Yard, London," and a small volume " Directions for playing
the Flute" is " Engraved, printed and sold at the printing office
in Bow Church Yard, London, where books of instructions for
any single instrument may be had." In the present century,
1838, Messrs J. J. Ewer & Co., the importers and printers of
foreign music, were established in Bow Church Yard. For
further details see " Cluer " and " Dicey."
Bown, G. W. II ? St. Martin's Church Yard, a music
seller who issued a few sheet Scotch
songs and several small and unimportant collection of airs for
the violin or flute, about the years 1820-26. On one of his
works he makes the statement " Late of H.R.H. Duke of
Gloucester's Band." He published an annual collection of
twenty four " Popular Country Dances" in oblong 8vo ; that
for 1826 is in my own library. Another work under his
editorship was published by J. Reynolds, 174, Strand, and
entitled " The Amateurs' Flute Companion," in at least five
volumes in small quarto.
Branston, R. A music engraver, whose imprint is
found on a sheet song from Michael
Kelly's opera" Of Age To-morrow," acted in 1805.
"The Wife's Farewell or No my love no Engraved and
printed for the author by R. Branston, China Row, Lambeth,
and to be had of Mr. Kelly, No. 9, Lisle Street, Leicester
Square, and at all the music shops."
Bremner Robt. A music seller originally settled in
Edinburgh, who came to London
and established a large and important business. Mr. John
Glen, in his very valuable work " The Glen Collection of
Scottish Dance Music" 1891 gives, among his biographical
notices, some interesting particulars of him from original
sources.
The first mention which Mr. Glen finds of Bremner is
in connection with a concert which he gave on the 13th Dec,
1753, in the High School of Leith, and the next an advertis-
ment bearing date July nth, 1754, showing that Bremner had
a music shop "at the sign of the Golden Harp" in Edinburgh.
Mr. Glen further points out that he came to London in 1762,
a date earlier than has been before mentioned for this circum-
stance. Bremner's London establishment was "at the Harp
and Hautboy, opposite Somerset House in the Strand " — no
number being given. He had, while in Edinburgh, adopted
the same sign and this combination of musical instruments had
16
more than a hundred years previously held position over a
shop which must have been upon practically the same site, for
the label of John Shaw, a violin maker, is "at the Goulden
Harp and Hoboy nere the Maypole in the Strand, 1656."
Walsh had also used the same sign within a few steps of
Bremner's place, but before the Scotchman's arrival had
omitted it from his imprints. Bremner's London trade quickly
became extensive, and besides the re-printing of his Edinburgh
works he published a quantity of what was esteemed the best
music of his day. He was himself the author of a very
popular little treatise " The Rudiments of Music," which
having had two Edinburgh editions dated 1756, and 1762, was
issued again with his London address in 1763. Besides
Scottish music in collections, half sheet Scotch songs are
found bearing his initials and his name is attached to a vast
quantity of instrumental music by English and foreign com-
posers. He became the owner too of Pasquaili's " Art of
Fingering the Harpsichord," and the same author's "Thorough
Bass," works held at one time in the greatest esteem. He
early became possessed of some of the original plates engraved
for John Simpson and re-published "The Delightful Pocket
Companion for the German Flute" and "Thesaurus Musicus."
It is recorded that in 1762 Bremner bought from Dr.
Pepusch's library for 10 guineas the celebrated early manu-
script known as Queen Elizabeth's Virginal book and made a
present of it to Lord Fitzwilliam ; it is of course now at Cam-
bridge.
Bremner's publications are always distinguished for
excellent engraving and printing; the paper is thick and strong
and where type letterpress is introduced, as in his " Rudiments
of Music," and his " Instructions for the Guitar," etc., the
character is so neat and clear, and in a style peculiarly his
own that it is unmistakeable.
Bremner died, presumably, at his country house, for under
the heading May 12th, 1789 his death is recorded in the
" Gentleman's Magazine " thus : — "At Kensington Gore, Mr.
Bremner, music printer in the Strand."
Bremner had no successor at his shop in the Strand, for
Preston & Son bought the whole of his stock-in-trade and
re-issued such as were still saleable ; his Scotch music, which
was in great repute, especially.
One of Preston's announcements regarding this purchase
is given on the sheet song "Poor Jack": — "That having pur-
chased the entire stock-in-trade of that extensive publisher and
dealer the late Mr. Bremner, Strand, facing Somerset House,
17
consisting of the celebrated vocal and instrumental works of
all the most eminent composers ; they are now reprinting the
same and will have shortly ready for delivery, new editions of
all those truly elegant, admired, and classical productions, as
also a complete catalogue containing two folio sheets particu-
larising the different authors, with the various species of com-
position, the whole forming, not only the most extensive, but
the most valuable list of work ever exhibited in this kingdom - "
I am in possession of one of these catalogues, dated
1790, and it appears to give a pretty complete list of Bremner's
publications. They occupy seven closely printed quarto pages
A few works bearing Bremner's London imprint may be here-
mentioned ; of some of these there are early Edinburgh
editions : —
The Rudiments of Music, by Robert Bremner, third edition,
1763, i2mo.
Thorough Bass made Easy, — Pasquali. Oblong folio.
Art of Fingering the Harpsichord, — Pasquali. Oblong
folio.
The Harpsichord or Spinnet, Miscellany. Oblong folio.
Thesaurus Musicus. Two volumes. Folio.
Delightful Pocket Companion for the German flute. 2 vols.,
8vo. (This and the previous one were re-printed from
Simpson's plates).
Thirty Scots Songs, (and a Second Set). Folio.
A Curious Collection of Scotch Tunes. Oblong folio,
Twelve Scots Songs for a Voice or Guittar. Folio.
Instructions for the Guitar. Oblong 410.
A Collection of Scots Reels or Country Dances, and a
Second Collection. Oblong 4to.
A Collection of Scots Tunes by Wm. McGibbon (a re-print
from the original work). 3 books, oblong folio.
A Collection of Scots Tunes by McGibbon, with additions
by R. Bremner. Oblong 4to.
Freemason's Songs. Folio.
Adam Craig's Collection for the Harpsichord. Oblong
folio.
Operas :— The Maid of the Mill ; The Rival Candidates ;
Beggar's Opera, Daphne and Amintor ; Love in a Village ;
and several others. Oblong folio.
Preston's list gives also the following ; copies of which I have
been unable to trace : —
Caledonian Country Dances, 2 vols.; Choice Minuets, 2 vols.
Country Dances, excellent, 8 vols. ; Jigs and Hornpipes, 2
books; Philpot's Dances, Rigadoons, etc.; Valentine's
Dancing Master, 2 books; Spanish Reels; etc., etc.
Oswald's Caledonian Pocket Companion, 12 books.
18
The dances named above point to being from the plates engraved for
John Johnson, of Cheapside, who issued Country Dances, Caledonian
Country Dances, and Philpot's Dances.
Bremner's bibliographical list could be extended to many pages
of the present volume, as he published a great deal of instrumental
music, Concertos, Solos, Sonatas, etc. It might also include his Italian
operas and his English vocal music. In Presion's list many of these
latter pieces may be recognised as having been originally John Johnson's
stock.
Bride, Richard. Had a shop in Exeter Change about
1775, and published some half-sheet
songs, generally only to be identified by the initials Rd. Be.
His songs were mostly those sung at a second rate Vauxhall,
called Finch's Grotto Gardens. These gardens were estab-
lished near the year 1761, and existed till the beginning of the
century. They were situate near the King's Bench prison,
and were on the site now occupied by the Borough Road
Station. Bride was the composer and publisher of a once
popular hunting song " Sung by Mr. Dearl at the Grotto
Gardens, set by Rd. Bride — Hark, hark, the joyous inspiring
horn — ." Another is "The Span, sung by Mr. Dearl, at
Finch's Grotto Gardens, the words by Mr. Oakman, set by
Mr. Bride Printed for the author at his music shop in
Exeter Change, Strand."
Briscoe, Samuel. Published "The Songs to the
new play of Don Quixote, as they
are sung at the Cjueen's Theatre in Dorset Gardens. Part the
first Written by Mr. D'Urfey, London, printed by J.
Heptinstall, for Samuel Briscoe, at the corner of Charles
Street, Covent Garden, 1694." Folio.
Broderip & Wilkinson. Broderip, who was with-
out doubt Robert Brode-
rip, the musician, organist at Bristol, and son of John
Broderip, of Wells, had been partner in the great firm of
Longman and Broderip, which came to grief some time about
1798. This firm had two places of business, one at 26,
Cheapside, and the other at 13, Haymarket. Longman
founded another business at the Cheapside address, while
Broderip entering into partnership with Wilkinson took over
the Haymarket premises. Broderip and Wilkinson are first-
named in the Directory for 1799 and retain a place till 1808.
In 1809, the firm is set down as Wilkinson & Co., and it
seems evident that Broderip was dead; after 1 810 this disap-
pears.
19
The following extract (kindly forwarded by Mr. F. G.
Edwards) from the "Morning Chronicle," of January nth, 1811,
proves that Wilkinson & Co. did not remain long in existence
after the death of Brodenp, and also shows what became of
the stock and plates: — "T. Preston, 97, Strand, acquaints
amateurs, etc., that he has just purchased the entire stock, etc,
of Wilkinson & Co., late Broderip & Wilkinson, of the Hay-
market."
Robert Broderip, born at Wells in 1750, died May 14th,
1808, at Bristol, the year which tallies with the absence of the
name from the music firm, affording considerable confirma-
tion that he was the senior partner in it.
Broderip & Wilkinson did not hold a very large business,
publishing principally sheet music, with an occasional tutor
for the harpsichord, violoncello, etc. One piece of sheet
music is a rondo on the air, "If a body meet a body," by
Robert Broderip, and some glees taken from Scott's poetry,
by Dr. Clarke, of Cambridge, are among music issued
by "Wilkinson & Co., late Broderip & Wilkinson."
Brome, Henry. A bookseller, who, in 1667, lived in
Little Britain, but who had in 1678
removed to the sign of the "Gun, near the West-end of St.
Paul's." Christopher Simpson's Compendium of Practical
Music, 1667, is printed by William Godbid for him at the
former address, and another edition, 1678, of the same book,
bears his name at the latter. He also published New Ayres
and Dialogues for Voices and Viols, by John Banister and
Thomas Low, dated 1678. This is "imprinted by Andrew
Clark."
Browne, John. An early seventeenth century book-
seller, for whom (sometimes in con-
junction with others) many madrigal and other musical books
were printed. These extended from 1609 to 1622, after which
date A.B., who may be his son, appears to hold place. His
shop was in St. Dunstan's Church Yard, and many printers
printed for him. One of his books has the following title: —
1613. Songs of Mourning, bewailing the untimely death of Prince
Henry, worded by Tho. Campion, and set forth to be sung
with one voyce to the Lute or Violl by John Coprario.
London, printed for John Browne, and are to be sould in St
dunstan's Church Yard, 1613. Folio; music type, (Taphouse).
Browne, John. A musical instrument maker, music
seller and publisher, who about
1727-30 living at the Sun in Cornhill, from here issued a small
volume entitled "The Opera Miscellany being a pocket collec-
20
tion of songs chiefly composed for the Royal Academy of
Music, containing select airs in Rodelinda Julius Caesar
Printed and sold by John Browne, musical instrument maker,
at the Sun in Cornhill." (Sir John Stainev's Catalogue of Song
Books.)
Later (in 1 743) he had removed or altered his sign to the
Black Lyon, still in Cornhill, where he made fiddles. Mr.
Arthur F. Hill has an early and curious trade card of his : —
" Made and sold by John Browne, musicall instrument maker,
at the Black Lyon, over against the Royal Exchange in
Cornhill, London, where you may be furnished with all sorts
of musicall instruments, as Violins, Bass Viols, Hoboys,
Flutes, etc. ; printed books of tunes, with directions for
learners At the same place you may hear of a Master for
any instrument now in use."
Browne, Daniel. A bookseller, whose name, with
another, appears on a book
printed in 1740. He lived at the Black Swan without Temple
Bar, and in 1749 published a small octavo book, with the
music from moveable type, entitled "An Antidote against
Melancholy, being a collection of four score Merry Songs
Never before set to music, 1749."
Brown, Robert. Lived in Windmill Court, Pye
Corner, and printed from moveable
type an octavo volume of Anthems, composed by Josiah
Street, the second edition dated 1746.
Bryan, F. He published about the year 1805 several
sheet songs, one being: — "The Maid of
Woburn Composed by M. A. Bryan, the words by F.
Bryan, printed and sold by F. Bryan, 36, Southampton Row,
Bloomsbury ; of whom may be had, The Bilberry, a pathetic
ballad, and Roxalana, both sung at the nobility's concerts by
Miss Richardson."
Buckland, J. Printed and published several volumes
of engraved sacred music, one being
dated 1762 — "A Book of Anthems, &c, compiled by C. Ash-
worth. London, printed and sold by J. Buckland, at the
Buck, in Paternoster Row, 1762," oblong 4to. The music is
engraved, and signed Wm. Smith. Another is "Eight
Anthems on various occasions By Joseph Key, 2nd edition
printed for and sold by the author, at Nuneaton in Warwick-
shire ; sold also by Messrs. Thompson, 75, St. Paul's Church
Yard ; Mr. Buckland, 57, Paternoster Row ; and the engraver,
at 48, Holborn," folio.
21
Butt Richard. Printed from music type in 1694 tne
following : — " A Collection of one
hundred and eighty Loyal Songs, all written since 1678 and
intermixt with several new Love Songs... 4th edition, London,
printed and are to be sold by Richard Butt, in Princess
Street, in Covent Garden, 1694." i2mo. {Taphouse.)
Button & Whitaker. These were successors to
the famous Thompson family
of 75, St. Paul's Church Yard, and they carried on their busi-
ness at the same address. After the Thompson's had ceased,
Messrs Purday & Button took possession of the premises, and
sometime about 1805 commenced publishing sheet-songs.
Many have the last date engraved on them. In 1807 the
names are transposed into Button & Purday, and in 1808 the
firm stands as Button & Whitaker. The latter member was
the musician, John Whitaker, an organist, and a composer of
many popular songs, and of some of the music in "Guy
Mannering." Whitaker was born in 1776 and died in 1847.
Before 181 6 other persons joined the concern and it became
"Button, Whitaker, & Beadnell," or "Button & Company,"
and in 1820 the business is carried on as Whitaker & Co.
I have not been able to ascertain when the old premises
in St. Paul's Church Yard ceased to be a music warehouse,
but it was probably after 1830.
Button & Whitaker had acquired all the Thompson plates
and stock-in-trade, and they re-printed a good many of the old
books, besides issuing a quantity of new publications. Among
these reprints are "Apollonian Harmony," a collection of
glees, etc., in six volumes, large octavo, and a small oblong
collection of "Favourite Marches for two flutes or fifes," two
volumes, small oblong. They continued Thompson's yearly
sets of twenty four country dances, but I have seen none of
these collected into volumes of two hundred as in the case of
Thompson. They published a gathering of Sacred Music
compiled by John Whitaker, and extending to two volumes
— "The Seraph" — the first volume dated 1818; it was after-
wards re-printed by Jones & Co. Another series, in small
oblong," is the "Musical Cabinet," reaching to at least 22
volumes. Sheet music came forth plentifully, very neatly
engraved, r frequently with a line, having ornamental corners
round eacH page.
Cahusac, Thomas. Was at the sign of the "Two
Flutes and Violin, opposite St.
Clement's Church in the Strand," as early as 1755. I am
22
indebted to Mr. Barclay Squire for this record of him, as well
as for drawing my attention to his obituary notice. Cahusac
was a maker of violins and flutes, besides being a music seller
and publisher. In Eastcott's Sonatas, dated 1773, Mr.
Cahusac, Strand, is put down for several copies, and this name
at 196, Strand, is in the London Directories from 1784. The
Gentleman's Magazine gives a notice of his death as follows :
"May 18th, 1798, Mr. Thomas Cahusac, senior, of the Strand,
the oldest musical instrument maker in and near London."
He had two sons, W. M. Cahusac and Thomas, who were
in partnership with him before 1798. It appears as if the son
Thomas was in business on his own account before this date
for a sheet song in the British Museum, which is, after 1782,
but contained in a volume bound in 1790 has the imprint
" Thomas Cahusac, at his music shop, Great Newport Street,
near Long Acre. In 1799 the two brothers are in partnership
at 196, Strand, but in 1802, the directory shows that while
W. M. retains the old premises, Thomas has again set up for
himself and is at 41, Haymarket, as musical instrument maker.
Before 1814 the Strand premises are given up and W. M.
Cahusac is at 79, Holborn, and is here till 181 6.
In 1829 I find a record of William Cahusac, a musician,
living at Bexley, Kent.
Thos. Cahusac published, in conjunction with J. W.
Lintern, a music seller, of Bath. They printed a series of
Country Dance books in oblong octavo, and another series of
small oblong volumes of airs for the German flute, in at least
twelve volumes. Sheet music also bears their imprint.
1785. Twenty-four Country Dances for the year 1785.... T.
Cahusac, 196, Strand, and Messrs. Ludlow & Wainwright,
Manchester. Oblong 8vo.
1788-94. Ditto for 1788-90-91-92-93-94. .. .Thos. Cahusac, 196,
Strand.
1798 Ditto for 1798. . . .Cahusac & Sons, 196, Strand.
1799. Ditto for 1799. ...T. & W. M. Cahusac, 196, Strand.
1800 Twelve for 1800.
1814. W. M. Cahusac's Annual Collection of twelve country
dances, for 1814. . . .79, Holborn.
Cahusac's Pocket Companion for the German Flute or
Violin .... W. M. Cahusac, 196, opposite St. Clement's
Church, Strand. Small oblong, vols. 9, 10, 11, 12.
C. 1785. The Broom of Cowdenknowes. . . .Sung by Mr. Tenducci, at
the Pantheon and Mr. Abel's Concerts. The instrumental
parts by the late celebrated Mr. Bach. London, printed and
sold by Thomas Cahusac, at his music shop, Great Newport
Street, near Long Acre. (Sheet song after 1782 and before
1790.)
23
Campbell, William. A Scotch publisher, found at
many different addresses during
his business career; the first being 93, Berwick Street, Soho.
This is on Werner's Dances for 1779. The address on the
same for 1783 and for 1788 is at 11, New Street, Covent
Garden, given also in the Directory for 1784 and 1787. About
1790 he removes to 8, Dean Street, and before 1 810 he is at 4,
Market Row, East Street, St. James's Market. In 1814 he is
finally at 32, Dean Street, and probably died or ceased busi-
ness about 1815 or 1816.
His publications consist principally of minor books of
dances, and include a series "Campbell's Country Dances and
Reels," in oblong quarto. This runs to twenty seven books,
and was re-issued, and probably continued from the 22nd
up to this number by Robert Birchall.
As before indicated he published many of Francis
Werner's sets of Cotillions and Country Dances. Werner was
a dancing master and master of the ceremonies at Almack's
and the Festino Rooms. He lived at 6, Lower St. James'
Street, Golden Square, in 1782 and died in the year 1787.
Campbell, Fentum, Birchall, and Andrews, and others pub-
lished his yearly books.
Carey, Henry. The poet and author of "Sally in
our Alley." He had a very slight
musical education, but his ready wit and good ear enabled
him to earn his living by the profession. He taught in private
families and took to composition. His own setting of "Sally
in our Alley," and "God Save the King," (if this may be
granted to him), testify to his ability. Not unlike Charles
Dibdin, he took to a periodical publication of his own songs
and music ; there is an engraved half-sheet song, circa 1720, in
the British Museum, which has the following title: — "Once
for all, Harry Carey's general reply to the libelling gentry
who are angry at his welfare. The words and music by Mr.
Carey." The song begins, "With an honest old friend and a
flask of old port." After the song comes: — "Mr. Carey,
instead of being angry, humbly thanks those gentlemen who
have rail'd him into so much business. His poems being now
in the press he can publish nothing in the musical way till
after Christmas, when, according to his old preface, he doubts
not but to please his friends, to mortify his enemies, to get
money and reputation. In the meantime, if a thousand libels
come out against him he won't answer one; humbly hoping
this reply sufficient by ye Author's order. Ingraved by T.
Cross." Carey committed suicide in 1743.
24
Carpenter, James. He was Thomas Moore's first
music publisher and limited him-
self in this matter to the works of the poet, or those of Moore's
personal friends. He was also a bookseller and ordinary
literary publisher. His sheet music is especially elegantly
engraved and printed on fine white paper, with broad margins :
it is also remarkable for bearing engraved dates, generally
1802 and 1803. He commenced in business with his brother
at 14, Old Bond Street, about the year 1800, and the firm is
for a year or so styled J. & T. Carpenter or J. Carpenter &
Co. I find no music published by him after 1806, and in 1807
Moore transferred this branch of his work to the brothers
Power. Carpenter was, however, long after this date in busi-
ness as an ordinary bookseller and publisher.
Carr, John. A music seller with a shop "Near the
Middle Temple Gate." He was a friend
of, and had business relations with, old John Playford. A
work said to be published by Carr in 1667 is "Tripla Con-
cordia," advertised on one of Carr's publications of 1684.
Another is " Melothesia, or certain general rules for playing
upon a continued bass London, printed for J. Carr, and
are to be sold at his music shop at the Middle Temple Gate,
1673," oblong 4to. (Taphouse). On this he advertises: — "All
sorts of books and ruled paper for musick ; Songs and airs
vocal and instrumental, ready prick't ; Lutes, Viols, Violins,
Guittars, Flagelets, Castinets, Strings, and all sorts of musical
instruments are sold by John Carr, at his shop in the Middle
Temple, London." Many other books have his name on the
imprint, with the same address, the latest I have seen being
"The Lawfulness and Expediency of Church Musick," a
Sermon preached at St. Bride's Church in 1693. (Taphouse).
In the fifth book of "Choice Ayres and Songs," folio, 1684,
sold by John Playford and by John Carr, at their respective
shops, Playford bids farewell to the public and mentions Mr.
Carr as having assisted him in procuring songs from the
several authors. He says that he will now leave his labours
to be taken up by two young men, " my own son, and Mr.
Carr's son, who is now one of his Majesty's Musick."
Richard Carr, the son spoken of above, is found the
following year, in conjunction with Henry Playford, on the
title page of the " Theater of Musick," "printed by J. Play-
ford for Henry Playford and R. C, are to be sold near the
Temple Church, and at the Middle Temple Gate, 1685."
25
Caulfield, John & H. 36, Piccadilly. A family of
music engravers, who also
published sheet music and one or two musical works. The
father to John Caulfield had been apprenticed to John Walsh,
and had been employed in carrying proofs to Handel during
the publication of his Oratorios. John Caulfield, the father,
engraved Thomas Warren's second collection of catches and
glees, published by Peter Welcker about 1770, as well as the
fourth, published by Longman & Broderip. There is a very
large single sheet having his name as engraver dated 1770,
"A Cannon for 8 voices," devised and published by John
Alcock, Doctor of Music, Lichfield. The Directory for 1802
gives: — J. & H. Caulfield, music engravers and publishers,
36, Piccadilly, and about this date I find several sheet songs
bearing their names as publishers.
About 1825 John Caulfield, of 7, Fountain Court, Strand,
engraved and published a "Collection of Vocal Music in
Shakespeare's Plays," two volumes, large octavo. He was
still alive, aged 83, in the year 1857.
Chappell & Co. The firm is said to have commenced
in 1 81 2 at 124, New Bond Street,
(premises which had been occupied previously by Goulding
& Co.), with Samuel Chappell at its head and the two
musicians, J. B. Cramer & Francis Tatton Latour, as
partners. About 181 9 or perhaps a year or so later Cramer
left, and in 1824 founded a business of his own, while in 1826,
Latour did the same, taking 50, Bond Street, a shop almost
opposite the old one.
About this time Chappell formed another partnership,
Chappell, Longman, & Bates, but this, though in existence in
1829, ceased very quickly. G. Longman and Bates were
musical instrument makers, who, in 1824, were at 6, Ludgate
Hill. Bates is referred to in the present volume under his
heading.
S. Chappell published music under his own name at 135,
New Bond Street. In 1830 Chappell is said to have bought
Latour's business and had established himself on the latter's
premises, No. 50, and was in business alone. He died in
December 1834, leaving his widow and his two sons, Thomas
and William, as his successors.
About 1845 William Chappell, author of popular music,
left his brother and became partner with Cramer & Co. The
modern firm of Chappell is of course well known.
Samuel Chappell published a vast quantity of sheet music,
some of which is printed from a patent copper type, worked
26
off at twice, a process, which was in limited use about 1830-5.
He acquired from Latour many, then valuable, copyrights,
including the song "Meet me by moonlight alone," and
others, by J. A. Wade, which had a popularity almost incon-
ceivable at the present day. I have lengthv lists of his pub-
lications, but these seem to be confined exclusively to sheet
songs.
Christmas, C. 36. Pall Mall, a music seller who
published a " Selection of German
Hebrew Melodies," folio. James Hogg, the poet, mentions
in his autobiography that in 1815 he was employed to write
verses for this work at the rate of a guinea a stanza. "It
was published in a splendid style, price one guinea; but it was
a hoax upon me for I was never paid a farthing." It seems
to have been intended to run to some length, but only the
first number or volume of eight airs appeared. A firm,
Falkener & Christmas, succeeded Michael Kelly, at 9, Pall
Mall.
Clarke, Andrew. Printed Banister's "New Ayres
and Dialogues," 1678, see Brome.
Clarke, John. Published in 1655 an edition of
" Parthenia, or the Mayden Head of
the first musick that ever was printed for the Virginals," com-
posed by three famous masters, William Byrd, Dr. John Bull,
and Orlando Gibbons, gentlemen of his Majesty's Chappell,
dedicated to all lovers of musick, printed for John Clarke, at
the lower end of Cheapside, entering into Mercer's Chappell,
1655, folio. A copy of this edition is in Mr. Taphouse's rich
library.
Clarke, John. A later publisher and possibly a son of
the former. The present John Clarke
lived at the Golden Viol in St. Paul's Church Yard. Some
time before 1697, (probably about 1680). Jeremiah Clarke, the
musician, who also lived in St. Paul's Church Yard and com-
mitted suicide in 1707, may have been his son.
Clarke published a quaint tiny oblong volume entitled,
"Youth's delight on the Flagelet Sold by John Clarke, at
the Golden Viol, in St. Paul's Church Yard, 9th edition,"
either not dated or date cut off. The nth edition, which
bears the date 1697, was published in some part from the same
plates by John Hare at the above address. Copies of these
very rare books are in the British Museum Library, and I
have to thank Mr. Barclay Squire for drawing my attention to
them.
27
Clavel Richard. Printed from moveable type "The
Psalter or Psalms of David,
paraphrased into verse, s'et to new tunes, the 3rd edition
By Richard Goodridge; London, printed for Richard Clavel,
at the Peacock, at the west end of St. Paul's Church Yard,
1685," 8vo. (Taphouse.) The 2nd edition was printed at
Oxford in 1684.
Clementi & Co. Muzio Clementi, the musician, was
born at Rome in 1752, and came to
England when he was a lad of fourteen or fifteen, under the
patronage of Peter Beckford. He of course rapidly became
famous by his performances on the harpsichord and the piano-
forte, and by his compositions. He is said to have lost a large
sum of money by the failure of Longman & Broderip, in which
it seems he was a partner. About 1798-99, when Broderip
had taken over the Haymarket shop Clementi entered into a
new firm at 26, Cheapside (the original place of business) with
John Longman, and for two or three years they traded under
the style: — John Longman, Clementi & Co. In 1802-3 Long-
man retired from this and set up for himself at 131, Cheap-
side, leaving Clementi to enter into partnership with Banger,
Fredk. Augs. Hyde, Fredk. W. Collard, and D. Davis. The
business was carried on either as "Clementi, Banger, Hyde,
Collard, & Davis," or "Muzio Clementi & Co.," or "Clementi
& Co.." with the address 26, Cheapside. In 1806 and 1807
they had additional premises at 195, Tottenham Court Road.
They had bought all Longman & Broderip's plates and stock,
and reprinted a great quantity of the music.
In March 1807 they were unfortunate enough to sustain
great loss by a fire, which destroyed ^"40,000 worth of property
(see Grove's Dictionary), and must have greatly crippled the new
firm.
In 1 810 Hyde drops out and another Collard takes his
place — "Clementi, Banger, Collard, Davis, & Collard." This
remains till 1819, when Banger is absent — "Clementi, Collard,
Davis, & Collard." In 1823 the partnership stands, "Clementi,
Collard, & Collard," and after the death of Clementi as
"Collard & Collard," under which title, having only very
recently left the original Cheapside address, the firm stands at
present.
Clementi must, in his later years, have had little active
interest in the business, and in fact from his constant visits to
the Continent and his professional duties cannot ever have
paid much attention to it. He seems to have retired to
28
Evesham, near Worcester, and died thereon March gth, 1832.
He was afflicted with extraordinary absence of mind, and
there are several anecdotes in this particular related of him.
Clementi & Co. published a mass of sheet music and
re-printed from Longman & Broderip's plates a number of
the English Operas in oblong folio. Another reprint was
"Catches, Canons, and Glees," in four volumes, oblong quarto.
They made pianofortes, and their names are found stamped on
violins, flutes, etc.
Ciller, X. Established a printing office in Bow Church
Yard, off Cheapside, probably before 1720.
It is possible that the premises, before Cluer came, may have
been occupied by a ballad and broadside printer, and it is also
likely that he may have printed ballads before he entered into
the music trade. He, at any rate, appears to have printed
music from moveable type before using engraved plates. A
curious half sheet song in the British Museum, printed from
type, seems to be an early specimen of his work. The song
commences " I am a merry fiddler," and is titled: — "No. 13,
The Pedigree of a Fiddler," with the following announcement
" For the future all the songs printed by J. Cluer, in Bow
Church Yard, will be set to musick, and as he hath invented a
new and quick way of doing the same in letterpress for the
enlargement of musick, songs will now be sold by him at a
much cheaper rate than usual, and he will publish monthly
four new sorts," etc., etc. (B.M. G. 315). This proves, not
only that shortly before its issue, Cluer printed songs without
music, but also that he had made some improvement in the
setting up or otherwise of music type. Many old ballads
without music bear the imprint "Printed and sold in Bow
Church Yard." About 1720 all Cluer's publications are from
very neatly engraved plates, and in this style they continued
till he ceased business. Some of his books are so beautifully and
clearly engraved on copper as to excel all other works of the
period. He became associated with a bookseller or a music
dealer, B. Creake, at the Bible, in Jermyn Street, St. James',
and many of his books bear this name in addition to his own.
He seems to have made an attempt towards a collection of
musical works, mostly the Italian Operas, in a small size, con-
venient for the pocket, commencing with "A Pocket Com-
panion for Ladies and Gentlemen." He says in the preface
of the first volume " As all things of this nature that have
appeared in the world have been generally of a size more
adapted to a library than to accompany one abroad, we flatter
ourselves with the hopes of a favourable reception for this
29
collection, the manner of introducing it being entirely new."
A beautifully engraved opera in large octavo is Handel's
" Julius Caesar." Handel, in his early period, seems to have
had periodical squabbles with Walsh, and to have taken his
works to Cluer and Meares for publication. "Julius Caesar "
is one of these. Cluer, in the "Pocket Companion" quoted
above, mentions that "The Proprietors of this book will
speedily publish, in a neat octavo size for the pocket, that
celebrated opera of Julius Caesar, they having a grant for the
sole engraving, printing, and publishing the same. To which
will be added the overtures of all Mr. Handel's Operas. And
they further give notice that they will in a little time publish
in a neat octavo size, curiously engraved on copper plates, a
monthly collection of new songs, with a thorough bass"
Cluer printed other operas by Handel in folio. He, or his
successor Dicey, planned a series of instruction books, octavo
in size, edited by Peter Prelleur, and collected into one volume
with the title, "The Modern Music Master." He published
as late as 1729-30, when he was followed by W. Dicey, who
in turn gave place to T. Cobb.
1718-20. The King's Health, set to Farinel's Grounds by Mr.
D'Urfey (Joy to Great Caesar, etc.) ; A drinking song for
two voices, by Mr. Carey (Here's to thee my boy) ; The
Fair Olinda, and many other engraved half sheet songs, in
the author's possession, bearing Cluer's imprint.
C. 1720. A choice collection of Psalm Tunes, Hymns, and Anthems. .
by William Anchors. .. .Engraved and printed at Cluer's
Printing Office, in Bow Church Yard, Cheapside, London,
where all manner of business is printed, and all sorts of
copper plates curiously engraved Oblong 8vo.
(With the date 1722 and owner's name stamped on binding).
C. 1725. A Pocket Companion for Gentlemen and Ladies, being a
collection of the finest opera songs and airs. . . .By Richard
Neale. Small 8vo. A second volume followed later.
Medulla Musicae, being a choice collection of airs.... In
two volumes London, engraved and printed at Cluer's
Printing Office, in Bow Church Yard, and sold there and by
B. Creake, at the Bible in Jermyn Street, St. James'. 8vo.,
2 volumes. (Taphouse).
The First and Second Packs of Musical Playing Cards, each
card containing a diverting song, and transposed for the
flute. (These are advertised on one of Cluer's publications.
A set, which has every appearance of being one of these
packs, is among the playing cards in the British Museum).
Operas: — Julius Caesar, Tamerlane, Rodelinda, Scipio, Alexander,
Richard the First, Admetus, Siroe, and Lotharius (in folio).
Julius Caesar, Tamerlane, and Rodelinda, transposed for the
flute in octavo.
30
Twelve overtures i n four parts by Handel. Bononcini, &c
A Book of New Minuets and Rigadoons.
These two last are advertised in some of Cluer's works : I have not
seen copies. The opera Lotharius was perhaps one of Cluer's latest
publications. Julius Caesar is beautifully engraved in octavo, and sold
by Cluer and B. Creake : the patent right granted to Handel is dated
1720. A copy is in Mr. Matthews' library.
Most of the other operas in folio have richly engraved title pages.
The small volume" Pocket Companion for Gentlemen and Ladies" has a
charming frontispiece.
Cobb, Thomas. Closely succeeded Cluer at the Bow
Church Yard office (see previous
article), but was, however, preceded by, apparently, W. Dicey.
Cobb probably published about the years 1734-38. He
removed to the Apollo in Silver Street, near Cheapside.
C. 1734. Suites de pieces pour le clavecin. .. .J. C. Smith. London,
printed .or, and sold by the author in Meard's Court, near
St. Anne's, Soho, by Thos. Cobb, at the engraving and
printing office in Bow Church Yard, where all manner of
business is curiously engraved and printed. Oblong folio.
(Taphouse.) (Among the subscribers are Mr. Burk Thumoth,
Mr. John Walsh, 12 books, Dr. Pepusch, Henry Carey, and
G. F. Handel. The second book was published by Walsh)
C. 1734 XII Sonatas for 2 violins. . . .by J. S. Humphries. . . . London,
printed for the author and sold by Thos. Cobb, at the
engraving and printing office in Bow Church Yard. Among
the subscribers are Mr. Burk Thumoth, junr., Peter
Prelleur, and Rd. Neale. Copy in the British Museum,
title kindly forwarded by Mr. Alfred Moffat.
Cobb & Watlen. i9> Tavistock Street, Covent
Garden. The Watlen was
possibly Mr. John Watlen who was at one time in business
in Edinbnrgh. The earliest date I can find for this firm is
among a list of booksellers selling a collection of Motetts or
Antiphons by S. Webbe, large octavo, preface dated
August. 1772. They seem to have engraved the book.
A few years later is a piece of sheet music " Billy Taylor,"
a favourite song sung by Mr. Bannister, junior The music
arranged and the last part by J. Watlen, London, printed by
Cobb & Watlen, at their music repository and new subscrip-
tion music library, No. 19, Tavistock Street, Covent Garden,
where may be had every new musical publication, also a very
grand assortment of pianofortes, and other instruments.
At the above address their names occur in the directory
for 1805, but I have not seen it in any other. In that for 1807
J. Watlen is shown to be in business on his own account at 5,
Leicester Place, Leicester Square.
31
Cocks, Robert, & Co. Robert Cocks is said by
Grove's Dictionary to have
commenced business in 1827, but, as he, in partnership with
others, at 20, Princes Street, Hanover Square, advertised in
the " Harmonicon " for 1823, this must be four years too late.
Among their many early productions are oblong quarto books
for the flute, arrranged by Charles Saust ; one is a selection
from " Der Freyschutz " (numbered 54), and another (num-
bered 55) is "A selection of original Scotch Airs," followed by
another of Irish Tunes—" Two Hundred Irish Melodies, for
the Flute, by J. Clinton," small 4-to.
They rapidly pushed to the front and issued sheet music
and important larger publications. Before 1845 they had
removed to 6, New Burlington Street.
Robert Cocks died April 7th, 1887, aged ninety. He had
been a man of extreme energy. Their publications prior to
1887 are said to have numbered more than sixteen thousand,
which include many very valuable treatises.
Cole, Benjamin. An engraver of music and an
illustrator. He engraved the music
to the " Dragon of Wantley," published by John Wilcox in
1738, quarto. In 1739 he engraved and published on his own
account a large folio work, similar in style to, and rivalling
Bickham's " Musical Entertainer," this is: — " British Melody,
or the Musical Magazine Printed for and sold by the
proprietor, Benjamin Cole, engraver, at ye Corner of King's
Head Court, Holborn, 1739," folio. He engraved the music
with the pictorial headings on the music sheets issued monthly
with the "New Universal Magazine," 1750, 1752, etc., and
his name, as " Mr. Benjamin Cole, engraver," is among the
subscribers to a song book entitled " Puerilla," dated 1751.
Cooke, Benjamin. At the Golden Harp, in New
Street, Covent Garden, was in
business as a music seller and publisher about the year 1730.
He published instrumental music ; and a book of twenty-four
country dances for the year 1738, is in the British Museum.
The following extract from the life of Dr. Benjamin Cooke, in
the manuscript of the doctor's son, belonging to Mr. Taphouse,
will show he was father to the musician : — " Dr. Benjamin
Cooke, the musician, was born in New Street, Covent Garden,
about 1734, where his father kept a music shop," etc., etc.
Besides the above I can give no satisfactory dates for Cooke.
His publications are by no means plentiful, and they all seem
32
within a few years of each other.
Mr. Arthur Hill possesses a curious trade card issued by
Cooke, but it bears no date.
De Fesch's Cauzonets.
XII Solos for a German flute, with a thorough bass for
the harpsichord .... by Mr Roseingrave, organist of St.
George's, Hanover Square, folio.
XII Concertos in 7 parts, for two violins. .. .by John
Humphries, op. 2, folio. Ditto op. 3.
1738. Twen*y-four Country Dances for the year 1738. .. .Note,
the genuine dances will be published every year in this same
volume and character. N.B. — There is just published
Caledonian Country Dances. .. .Also the complete Country
Dancing Master, in 3 volumes, printed for and sold by
Benj. Cooke, at the Golden Harp, in New Street, Covent
Garden, oblong 8vo.
Cooper, J. A music engraver, printer, and music seller,
who about 1790 was at 39, Whitcomb
Street, near Coventry Street, Piccadilly. He published some
instrumental sheet music — " An Overture for the Harpsichord
— Signor Rosetti," and " A Periodical Sonata by Mozart,"
etc. He shortly afterwards removed to 7, Gerrard Street,
Soho,
Coote, T. At the King's Arms, in Paternoster Row,
published a quarto work, " The Musical
Magazine, by Mr. Oswald, and other celebrated Masters." It
probably appeared in numbers, each containing letterpress and
several engraved songs with music ; no date, but internal
evidence shows it to be about 1761-2. Coote was also pub-
lisher of an ordinary literary periodical called "The Royal
Magazine" ; that for 1761 contains several of the airs given in
the " Musical Magazine." I have seen no other work of his.
Cope, W. Published sheet music. The earliest I have
seen being a song relating to the French
invasion of Ireland at Bantry Bay in 1796.
C. 1796. The Peasant of Bantry Bay. . . .London, printed and sold
by W. Cope, at his music and instrument warehouse, 22,
Mount Street, near the Asylum, Westminster Road.
C. 1805. The Cottage in the Dell, a favourite song by S. F. Rim-
bault. Same imprint.
Corbett Charles. A bookseller at "Addison's Head,
Fleet Street," or " Within Temple
Bar." In 1732 he printed (with engraved music) the ballad
opera "The Devil of a Duke," octavo. His name as publisher
33
is attached to Bickham's Musical Entertainer, originally issued
in 1737 and 1738. His name is found in the London Directory
so late as 1759.
Corri & Co. Domenico Corri was born at Rome in
1746, or, as another account states, at
Naples, in 1744. Becoming celebrated as a musician he
settled in Edinburgh in 1771, and shortly after published an
oblong quarto book, dated 1772 — "Six Canzones, dedicated to
the Scots ladies." His younger brother, Natale Corri, also
came to Edinburgh, and here the Corn's established a large
music business, at first under the name of John Corri, and
at another time in partnership with Sutherland. Corri &
Sutherland came to grief about 1790, and near that year
Domenico Corri had a small music shop at 67, Dean Street,
Soho, publishing in conjunction with Corri & Co. in Edinburgh,
a new firm probably controlled by his brother Natale (see the
Edinburgh section of the present volume).
In 1792, Johann Ludwig Dussek, the composer, married
Domenico's daughter, and he, entering in with his father-in-
law, they took an adjoining shop in Dean Street, and another
in the Haymarket. Before 1795 the firm is Corri, Dussek &
Co., 67 & 68, Dean Street, and 28, Haymarket. They issued
a catalogue of their publications printed on the back of sheet
music, bearing this date with the additional one, 1 796 ; their
names appear in the directories for 1796 and 1801. In 1 800-1
the firm had got into difficulties and Dussek is said to have
fled to the Continent to avoid his creditors. In 1802 there is
evidence that the business had been broken up, and that the
Dean Street premises had been abandoned. The directory
for 1803 gives — D. Corri, music and instrument warehouse,
28, Haymarket — and shortly after this year, Domenico Corri
retires and leaves the trade in the hands of his son, Montague,
who was born at Edinburgh in 1785. The house now does
business under the style " M. P. Corri & Co., late Dussek &
Co.," and the directories for 1805 chronicle M. P. Corri.
Hall, & Co. In 1806 it is Corri & Pearce, and about 1807-8,
becomes Pearce & Co., all at the address 28. Haymarket. In
many instances the imprints on music merely give the address
28, Haymarket. This period of publication probably may be
referred to the time when D. Corri, in monetary trouble, held
the Haymarket shop after Dussek had gone abroad ; not
unlikely during a financial winding up.
Pearce & Co. in due course remove to 70, Dean Street,
and ultimately to 24, Panton Street, Haymarket.
34
Corri & Co. published a great quantity of sheet music,
vocal and instrumental. The latter included most of Dussek's
pieces for the pianoforte. They also issued the operas, " Blue
Beard," 1798; " Of age to-morrow," 1805; and "The Travel-
lers," 1806; as well as single songs from them. All their
work is disfigured by the use of a coarse blue tinged paper,
with the engraving and printing by no means of the best.
Cox, John. Succeeded John Simpson, of Sweetings
Alley, near the Royal Exchange, at a
business founded and carried on by John and Joseph Hare.
Simpson probably died about the year 1747, and Cox held the
premises for a short period after this event, using some of
Simpson's old plates.
Mr. Alfred Moffat kindly gives me the first two of the
following titles : —
C. 1748. Twelve Scotch and twelve Irish airs with variations, set for
the German flute, violin, or harpsichord, by Mr. Burk
Thumoth. . . .London, printed and sold by John Cox, at the
Bass Viol and Flute, in Sweetings Alley, opposite the East
door of the Royal Exchange, formerly Mr. John Simpson's.
Where may be had two collections of the most favourite
old and new Scotch tunes, several of them with variations,
entirely in the Scotch taste, set for the German flute, violin,
or harpsichord, in two books. The first book new engraved
the size of the second ; with addition of several new airs with
variations, dedicated to his Royal Highness the Prince of
Wales, by Mr. James Oswald. New musick, vocal and instru-
mental. 8vo.
(This is a reprint from Simpson's plates ; other editions were
at later dates, published by Henry Thorowgood and by the
Thompson family. The above copy is in the Wighton
library at Dundee.)
C. 1748- A Sett of Familiar Lessons for the Harpsichord, by Thomas
Vincent. .. .London, printed for John Cox, at Simpson's
music shop, facing the East door of the Royal Exchange
(with a protrait of Vincent, dated 1748 — British Museum).
A Choice Collection of New Minuets, with their basses, as
they are performed at all publick assemblies and entertain-
ments ; set for the violin, German flute, or Hautboy. Book
1st (same imprint as above). Svo. (Taphouse.)
Cramer & Co. J onn Baptist Cramer was another of
the many celebrated musicians who
turned publisher. He was at first in partnership with Samuel
Chappell, but about the end of the year 1824 entered into the
business which, in a small way, had been carried on by Robert
Addison and T. Frederick Beale. These, being first at 120,
New Bond Street, had removed in 1824 to Regent Street, and
35
in their premises the firm commenced as Cramer, Addison, &
Beale, 201, Regent Street. This remained without change
till 1844-5 when Addison left and set up for himself, and
William Chappell entered in his place. The firm now was
styled Cramer, Beale, & Chappell, or Cramer, Beale & Co.,
and so till the death of Cramer in 1858 (born in 1771).
Chappell soon after retired, and the business was now solely
in the hands of Mr. Beale, who took into partnership Mr. George
Wood, one of a family of Scotch music publishers. The house
was now known as Cramer, Beale, & Wood, and in 1862 their
address was 207 and 209, Regent Street, where they devoted
most of their attention to pianoforte making and selling. On
the death of Mr. Beale the business was turned into a limited
company.
Referring to the earlier period, Cramer & Co. published
much sheet music and many important works. Two of these
of especial interest to musical antiquaries are Rimbault's
" Musical Illustrations of Bishop Percy's Reliques," 1850, and
Chappell's " Popular Music."
R. Addison, after he had left the Cramer firm, set up in
conjunction with Hodson at 210, Regent Street, having also
another address at 47, King Street. Besides publishing other
works, Addison and Hodson had acquired (apparently from
James Power's widow) the plates and copyright of Thomas
Moore's Irish Melodies. They re-issued these from Power's
plates, in the familiar green covers with the wood cut border
and having the central cut of a female figure playing on the
Irish harp.
Creake, B. "At ye Bible in Jermyn Street." A book-
seller in association with Cluer of Bow
Church Yard. (See Cluer.)
Crosby, B. & Co. Paternoster Row, or Stationer's
Court, Ludgate Street. Book-
sellers and publishers, who acquired from Oliver & Boyd, the
Edinburgh publishers, several song books with type printed
music, viz.: — "The Caledonian Musical Repository," 1806.
Ditto, a later edition, 181 1. "The English Musical Repository,
1807. Ditto, a later edition, no date, and "The Irish Musical
Repository," all in 8vo. All these books were printed by the
Scottish firm. Another edition of the English Musical
Repository, dated 1808, has the name William Hunter, an
Edinburgh bookseller. Crosby & Co. also published an edition
of the Edinburgh Musical Miscellany, 1808, 2 volumes, 8vo
36
This was also an Edinburgh publication from the press of
another printer, similar in style, originally issued in 1792 and
!793-
CrOSS, Thomas. A most celebrated engraver of music
at the end of the seventeenth and
beginning of the eighteenth century. It does not appear that
much definite knowledge of him exists, but there is a passing
reference to hini in Hawkins' History of Music, and his name
is mentioned in two contemporary sets of satiric verses. He
is credited with being the inventor of, or at any rate the first to
flood the market with, half sheet songs, always in his time
printed on one side of the paper, this generally thin, and
being in fact, a musical variety of the ballad sheet, or broad-
side. Of these half sheet songs so many remain up to the
present day, that, considering their liability to destruction
during a period of two hundred years, their output must have
been enormous. From the fact that a great number of these
sheets bear the names "Tho. Cross," or "T.Cross, junior,"
it is naturally inferred that they are the production of two
persons, father and son, and most writers so class them. I
venture, however, to differ from this general opinion, and to
consider them but one, from the fact that Tho. Cross, junior,
is invariably on the earliest music, and T. Cross, without the
qualification, on the latest. I am inclined therefore to think
that Cross, senior, if a music engraver, had nothing to do with
the half sheet songs marked with the name.
The earliest record I can find of a music engraver bearing
the name is the signature " Tho. Cross, junior, Sculp.,"
engraved on Henry Purcell's "Sonatas of III parts," published
by John Playford and John Carr, dated 1683. The latest
record of the name is as "Cross, Sculpsit," on D. Wright's
" Minuets and Rigadoons for the year 1732." As before stated,
the word junior is almost always present on the earliest works
— those prior tp 1708 or 1710, after this "T. Cross," or
"Cross" stands alone. This, I suggest, points to the conclu-
sion that Cross, senior, who ever he may be, has died about
this time and the son then dropped the adjective. If Cross, senior,
was a music engraver (as I think likely), it is very probable
from his son being employed by Playford, that he, the father,
may have cut the few books of delicately engraved music,
which the elder John Playford published near the middle of
the seventeenth century. It has been supposed that Cross
(junior) may have engraved for Walsh, but this I am not able
to confirm, though his name is freely present on his work done
37
for Cullen, Meares, & Wright, as well as for some others.
Work done for or by Walsh at this period is markedly
different in character. Cross engraved boldly and freely, and
his lettering, small and large, is very cursive, the tails of the
y's and g's being especially curly.
Hawkins says that he lived in Catherine Wheel Court,
near Snow Hill, off Holborn; this may be the case, but, as
one of his songs indicates, he at one time resided "Near the
Pound, at Clerkenwell." Many of his imprints show that he
sold the songs he engraved, and worked both for authors and
publishers alike; Henry Carey and Daniel Purcell among the
former, Cullen Meares and Daniel Wright (senior and junior)
among the latter. A favourite imprint is "Exactly engraved
by T. Cross."
Prefixed to Dr. John Blow's " Amphion Anglicus," 1700,
is a denouncement of the half sheet songs : —
" Music of many parts hath now no force.
Whole reams of Single Songs become our curse.
While at the shops we daily dangling view
False concords, by Tom Cross engraven true."
Another allusion to him is in Purcell's "Orpheus Britannicus,"
" Then honest Cross might copper cut in vain."
Cross having engraved music from at least 1683 to 1732,
near this latter year, having become an old man, may have
employed apprentices, besides failing somewhat in skill. This
will, of course, account for the coarseness of the engraving in
his later period. Hawkins says that "he stamped the plates
of Geminiani's solos and a few other publications, but in a
very homely and illegible character, of which he was so little
conscious that he set his name to every thing he did, even to
single songs."
Cullen, John. "At the Buck within Temple Barr," a
music seller and publisher, who flour-
ished about 1706-10. His name is on the imprint of an edition
of Christopher Simpson's "Compendium of Practical Music,"
of the date, 1706, "printed by W. Pearson for John Cullen, at
the Buck, between the two Temple Gates, Fleet Street," 8vo.
This address indicates that he succeeded John and Richard
Carr, who appear to have occupied the same premises in the
latter years of the previous century. In 1707 he published
the first edition of Keller's Thorough Bass, with a rubicated
title in letterpress and the music " Fairly engraved on copper
plates. London, printed for and sold by John Cullen, at the
38
Buck, between the two Temple Gates, Fleet Street, 1707,"
folio. At the back of the preface is a long list of "Books
printed for and sold by John Cullen," but many of these
are works printed by W. Pearson for Henry Play ford and for
John Young, such as, " Harmonia Sacra," "The Dancing
Master, 13th edition," "Wit and Mirth," etc. He also adver-
tises "All sorts of ruled paper, ruled books, and music books
of all kinds, with violins, flutes, flagellets, mock-trumpets,
haut-boys, reeds, bows, bridges, strings, wire for harpsicords,
and rests for harpsicords, with all the newest songs and
music that comes out, to be had at the same place, likewise
music fairly written." Other works which bear Cullen's
imprints are: —
Songs in the new Opera of Camilla ; fairly engraved on
copper plates and more correct than the former editions,
folio.
Six Cantatas for a voice, with a thorough bass.... Com-
posed after the Italian manner by Mr. Daniel Purcell, none
of which were ever before published by the author's
direction, carefully engraved on copper plates by T. Cross,
printed for J. Cullen, at the Buck, without Temple Barr,
folio.
Cantata set by Mr. D. Purcell. (Commences: — "Far from
the Nymph.") Sheet of 2 p.p., printed for J. Cullen, T.
Cross, Sculp.
Dale, Joseph. One of the most prominent London
music publishers who, with his son
and others of his family, flourished from near the end of the
1 8th to almost the middle of the 19th centuries. Joseph Dale
commenced business in a private house, No. 19, Chancery
Lane, prior to 1778, but in, or shortly after 1783, took over
the stock-in-trade and premises of S. Babb, at 132, Oxford
Street. The directory for 1778 gives Dale at the Chancery
Lane address, as do many of his published pieces of music.
On one of these early copies, Niccolai's Six Sonatas, is a
rather curious notice, of which, by favour of Mr. John Glen, of
Edinburgh, I am able to quote some part: "A Catalogue of the
most favourite music, selected from the best authors, printed
and sold by J. Dale, at his house, No. 19, Chancery Lane,
London. — N.B. The plates, copyright, and copies of the books
marked * were purchased of William Napier, music seller, in the
Strand, for ^540. Those marked 1 of Charles Bennett, Temple,
once the property of John Welcker, music seller, Haymarket, for
^682." Among the list are: — "The favourite opera of
Rosina, by Shield," " Flitch of Bacon," "The Deaf Lover,"
"The Hermit, by Giordani," and second part to ditto, " Colin
39
and Lucy," " Maid of the Mill," by Shield. These are all
marked as having been purchased from Napier. Dale adds a
note to the effect that " as it is reported that Mr. Dale thinks
it troublesome (as he does not keep a shop) to supply those
who are not of the trade with books, he begs to say that this
is not the case." The latest of the above list of operas is
"Rosina," acted at Covent Garden in 1783; this and the
appearance of his name in the directory of 1 786 as at Oxford
Street, fixes his removal thither between these years. Another
interesting advertisement is on an oblong quarto edition of the
"Flitch of Bacon," printed for J. Dale, 19, Chancery Lane: —
"Joseph Dale begs leave, respectfully, to acquaint the nobility
and gentry, and the public in general, that he is removed
from Chancery Lane to 132, Oxford Street, facing Hanover
Square, having purchased of Mr. Babb, music seller (retired),
the whole stock-in-trade, together with the musical circulating
library, consisting of one hundred thousand books and upwards,
which will, with the addition of every new publication, be
extensively carried on both in town or country ; hoping to
meet the favour of those who shall please to honour him with
their commands " (Copy belonging to Mr. C. Lolley.)
The Oxford Street premises were facing Hanover Square,
at the corner of Holies Street, and having got here he rapidly
developed his business, and in 1791 he opened another estab-
lishment at 19, Cornhill, opposite the Royal Exchange.
Shortly before the year 1800 Dale either gives up the shop at
132, Oxford Street, and takes another in its place, which is
variously styled 29. Holies Street, or Corner of Holies Street,
or what is more likely, it may be the same under another
designation. In 1803 he has an additional place, 151, New
Bond Street, facing Clifford Street, but after 1808 the west
end shops are all given up, and only the warehouse at 19,
Cornhill retained. Before 1806 Dale took his son into partner-
ship, and in 1809 the firm is Joseph and William Dale, who
possibly may be sons of the original Joseph. In 181 2 Joseph
and William seem to separate, Joseph being at 19, Cornhill,
and William at 8, Poultry. In 1819 Joseph's address is 25,
Cornhill — possibly a change in numbering rather than a change
in premises. After this date Joseph entirely disappears from
the directory, and William alone remains. In 1828 William
is at 19, Poultry, and in 1828 is succeeded by E. Dale, who
ceased sometime after 1835.
Joseph Dale, the elder, was musician enough to compose
pieces for the pianoforte and harpsichord, arranged from
10
popular airs. Sets of sonatas and concertos also bear his
name. Another of the same name (probably a brother), James
Dale, produced similar work.
Joseph Dale's publications are so numerous as to defy
classification. He published vast quantities of sheet music,
and a great number of the standard English operas of the
period ; generally in oblcng folio, with a smaller oblong edition
for the German flute or violin. He also issued a folio collec-
tion of English Songs, taken in many cases from these operas,
and reaching to at least twenty numbers. Another similar
collection was his Scotch songs, in three (or perhaps four)
volumes, folio, each containing sixty airs. There was too, a
series of Reels and Country Dances, in folio, the 25th number
of which was published by William Dale, 8, Poultry. Other
collections of Country Dances were in oblong quarto, but
none, so far as I have seen, of the annual sets of twenty four
for the violin, in oblong 8vo. which were so popular at that time.
He published, of course, tutors for the harpsichord, etc., and
advertises that he manufactures musical instruments of all
kinds, and gives an extensive list, ranging from harpsichords
down to flutes. The younger Dales' principally published
sheet music, including, in 1835, the classic ditty, " All round my
hat."
DavieS, T. Was at 61, Red Lion Street, Holborn,
about the year 1800. At a later date he
was at 90, High Holborn. From these two addresses he issued
sheet music ; he also engraved Dr. John Rippon's Psalms.
Day, John. An early printer of note, who, according
to Heber, first began printing a little
above Holborn Conduit, removing about the year 1549 to
Aldersgate. The books on early typography give very full
accounts of him and his works. He died in 1584, having had
several shops in different parts of London for the sale of his
books. He published many religious works, and appears to
have had a complete monoply for printing Sternhold's version
of the Psalms, of which, between the years 1560 and 1584, he
printed a great number of editions. In the first named year,
he published the Church Service, with music. His only book
of secular music seems to be " Songes of three, fower, and five
voyces, composed and made by Thomas Whythorne, gent.,
the which songes be of sundry sortes, that is to say, some long,
some short, some hard, some easie to be songe, and some
betwene both ; also some solemne and some pleasant or
merry ; so that according to the skill of the singers (not being
41
musitians) and disposition or delite of the hearers, they may
here find songes for their contentation and liking. Now newly
published in 1571, At London, printed by John Daye, dwelling
over Aldersgate," oblong 8vo. (a copy of which is in the British
Museum.) He had a son named Richard Day, who succeeded
him and held the patent of printing the Psalms, several
editions of which were printed by his assignment. John Day
printed sometimes in conjunction with William Seres. He
had a woodcut device of a man arousing a sleeper and the
motto "Arise, for it is Day."
Denham, Henry. Another of the Elizabethan
printers, whose only musical
production seems to have been two editions, both in the
British Museum, of the Seven Penitential Psalms, reduced into
meter, by William Hunnis, with the quaint title, "Seven Sobs
of a sorrowful Soule for Sinne," 1583 and 1587, i2mo.
Dibdin, Charles. This versatile genius came to
London about 1760, and first got
employment as a harpsichord tuner at John Johnson's, in
Cheapside. After having made a success by his opera, "The
Padlock," and written innumerable entertainments and songs
for the play house, he sailed for India in 1788. The ship,
however, in her outward passage touched at Torbay, and he
relinquished his passage, posting back to London full of a
mad scheme for the opening of a theatre for the performance
of his own pieces. This he effected, together with a music
shop in King Street, Covent Garden. In 1790 he left here
and removed to 411, Strand, opposite the Adelphi, or Beaufort
Buildings, to a hall which he named the "Sans Souci" ; from
here he issued many hundred sheet songs, all written, com-
posed, and sung by himself. These are each signed with his
autograph, and include his best songs, Tom Bowling, among
the number. In 1796 he removed to another building at No. 2,
Leicester Place, Leicester Square, where he gave his different
entertainments, and still continued the issue of his songs. He
projected a publication called "The Lyric Rememberancer, con-
sisting of songs, duettos, and trios The whole written and
composed by Mr. Dibdin," quarto, this is dated 1799, but I
doubt whether it reached more than two or three numbers.
Meanwhile, his sheet songs came forth plentifully. In 1805
he got tired of the business and sold the copyright of 360 songs
and his stock-in-trade to Bland & Weller for £"1,800, and an
annuity of ^100 for three years. In 1808 he again embarked
in his entertainments, and opened a music shop opposite the
42
Lyceum, but it soon was a failure and bankruptcy followed.
He died and was buried at Camden Town in 1814.
Dicey, W. Held the printing office in Bow Church
Yard after Cluer, and probably before
Cobb; particulars, however, regarding him are decidedly
scanty, though it is certain he was not very long in business.
The only publications I have found bearing his name are some
parts of " The Modern Musick Master", which were also sold
by John Simpson. The date of this must be somewhere about
1735-38.
Diether, J. 2 9> Lisle Street, Leicester Square, probably
commenced business 181 5- 18. A notice
on one of his publications states that he was late of the King's
Theatre, and organist of Ebury Chapel, Sloane Square. He
published a quantity of sheet music, and bought at the sale of
Bland & Weller's effects a great number of copyrights and
plates, including many of Dibdin's, which he re-issued. He
published a serial in small quarto " Diether's Pocket Companion
for the flute," which ran to seven or more volumes, ranging in
date between about 1816-20. One piece of sheet music has
the address, 27, Lisle Street.
Dover William. Published about 1800-5 "Complete
Instructions for the Bassoon,
printed and sold at Dover's music warehouse, Lincoln's Inn
Fields, leading to Great Turnstile," oblong 4to. Another and
a later imprint on sheet music is William Dover, Music and
Musical Instrument Seller, 68, Chancery Lane.
Duckworth, T. A piece of sheet music bears this title
and imprint; in date about 1790- 1800.
Spanish Dollars, a favourite song by Mr. Astley, senior, sung
by Mr. Connell, and introduced in the representation of the
situation of Lieutenant Rion in the Guardian Frigate, when
surrounded by an island of ice, and now performing at
Astley 's, Westminster Bridge. Printed and sold by J.
Duckworth, at his house, No. 9, Oakley Street, near the
Asylum, Lambeth, and may be had also at the Royal Grove
during the performance.
Eastland, George. His name is on John Dowland's
" Second booke of Songs or
Ayres of 2, 4, and 5 parts, with Tableture for the Lute or
Opherian, published by George Eastland and are to be sould
at his house neere the Greene Dragone and Sword, in Fleet
Street, London, printed by Thomas Este, the assigne of
Thomas Morley," 1600, folio. A copy in the British Museum.
43
Eavestaff "W. 66, Great Russell Street (opposite
Montague Street) published a " Selec-
tion of French Melodies, with English words," large 4to.
Appended to No. 3 is a lengthy list, dated 1826, of music pub-
lished by him, numbering two or three hundred items. (From
a copy kindly forwarded by Mr. Alfred Moffat.)
Edlin, Thomas. Printed and published a small
octavo volume of Canzonets and
Cantatas by Paolo Rolli, the pastry cook musician. The
book is dedicated to the Countess of Pembroke, and consists of
23 engraved music sheets and 124 p.p. of letterpress, its title is
Di Canzonette e di Cantate libri due di Paolo Rolli, Londra,
presso Tommaso Edlin, 1727 ; 8vo. (In my own library.)
Este, Thomas. (Sometimes East or Est). Possibly
an Italian. One of the best known
of the early music printers, who had also previously done much
ordinary typography, commencing in this about 1569. In
1 57 1 he printed the Psalms of David, and others, 4to, but his
musical works start about 1587-8, at which date he acquired
from William Byrd (who then held the sole right of music
printing) a license and this privilege was continued by Thomas
Morley. Thomas Este printed a great number of the
Elizabethan madrigal books, and his name is found so late as
1608. In 1609 the name, "Tho. Este, alias Snodham" is found
on the imprint of a book, and Snodham's name as a music
printer continues up to 1624. It is rather unlikely that the
original Thomas Este, who printed in 1569, should be printing
so late as 1609, and it may be assumed that a successor to the
business (a son-in-law perhaps) used it and so marked his con-
nection with Este. In 16 10 another edition of a work
originally printed by Thomas Este in 1589, Byrd's " Songs of
sundrie natures," is imprinted by Lucretia Este, the assigne of
William Barley, 1610. She was the wife, and at that time
no doubt widow, of Thomas Este. She is said to have died
in 1 63 1, and to have left ^"20 to the Stationers' Company for
the purchase of a piece of plate.
The address of Thomas Este in 1588 is at Paules Wharfe,
but in 1589, and to at least 1605, he is at the Black Horse, in
Aldersgate Street ; in general, however, his imprints merely
state — In London, by Thomas Este. His books are particularly
well printed, with the type well cut ; the madrigal books are
mostly in the usual small quarto, and generally bear a wood-
cut emblem in the centre of title page, with a border round
the page. The initial letters in the body of the book are bold
44
and quaint. Copies of most of Este's musical books are in the
British Museum, and some in the libraries of Mr. Taphouse,
and of Mr. J. E. Matthew, as well as other public and private
collections. Several were reprinted by the Musical Antiquarian
Society.
Michael Este, a composer of glees and madrigals, is said
to have been the son of Thomas Este.
The following are some of Este's publications: —
1588. Psalms, Sonets, and Songs of Sadness and Pietie....By
William Byrd. .. .Printed by Thomas East, the assigne of
W. Byrd, and are to be sold at the dwelling house of the
said T. East, by Paul's Wharfe, 1588, 4to.
1588. Musica Transalpina, Madrigals, translated of foure, five,
and sixe parts. . . .Published by N Yonge, in favour of such
as take pleasure in Musick of Voices. Imprinted by T.
East, the assigne of William Byrd, 1588, 4to.
1597. Ditto. ; the Second Booke, 1597.
1589. Songs of sundrie natures, some of gravite and others of myrth,
fit for all companies and voyces. .. .William Byrd.... Im-
printed at London by Thomas Este, the assigne of William
Byrd, and are to be sold at the house of the sayd T. Este,
beeing in Aldersgate street, at the signe of the black horse,
1589, 4to.
1590. The first sett of Italian Madrigalls Englished. .. .Thomas
Watson. (Same imprint), 1590, 4to.
1593. Canzonets or Little Short Songs to three voyces. (Similar
imprint), 1593, 4to.
1594. Songs and Psalmes, composed in 3, 4, and 5 parts.... By
John Mundy. (Similar imprints), 1594, 4to.
1594. Madrigalls to foure Voyces, newly published by Thomas
Morley. (Similar imprint), 1594. A later edition printed
in 1600, 4to.
1595. The First Booke of Ballets to five voyces, by Thomas
Morley. In London by Thomas Este, 1595, 4to.
1595. The First Book of Canzonets. .. .Thomas Morley. .. .Im-
printed at London by Thomas Este, the assign of William
Bird. 1595, 4to.
1597. Madrigals to 3, 4, 5, and 6 voyces, made and newly published
by Thomas Weelkes. London, printed by Thomas Este.
1597, 4to.
1597. The first set of English Madrigals to 4, 5, and 6 voyces,
made and newly published by George Kirkbye. London,
printed by Thomas Este, dwelling in Aldersgate Street.
1597, 4 to.
1596. The First set of English Madrigals to 3, 4, 5, and 6 voices,
newly composed by John Wilbye. At London, printed by
Thomas Este. 1598, 4to.
45
1598. Madrigals to five voyces, selected out of the best approved
Italian authors by Thomas Morley (Same imprint), 1598,
4to.
1598. Ballets and Madrigals to five voyces .... Thomas Weelkes.
(Same imprint), 1598, 4to
1600. Madrigals of 5 and 6 parts apt. for the Viols and Voices
....Thomas Weelkes .... At London, printed by Thomas
Este, the assigne of Thomas Morley, 1600, 4to.
1600. Madrigals of 6 parts apt. for the Viols and Voices, made
and newly published by Thomas Weelkes, (Same imprint),
1600, 4to.
1600. The Second booke of Songs or Ayres of 2, 4, and 5 parts. .
By John Dowland. . . .Published by George Eastland. .1600.
(Same imprint), folio.
r6oo. The Triumphs of Oriana, to five and six voices, composed
by divers several authors, newly published by Thomas
Morley. (Same imprint), 1600.
1601. The First Booke of Ayres composed by Robert Jones.
1604. Madrigales to 3, 4, and 5 parts, apt. for Viols, and Voices. .
Michael Este, In London, printed by Thomas Este. 1604,
4to.
1604. The first set of English Madrigales to 3, 4, 5, and 6 voices. .
Thomas Bateson. (Same imprint), 1604, 4to.
1605. The first Booke of Songs or Ayres of 4 parts. . . .F. Pilking-
ton. . . .London, printed by T. Este, dwelling in Aldersgate
Street, and are there to be sould. 1605, folio.
1606. Songs for the Lute, Viol, and Voice, composed by
J. f)anyel. . . .London, printed by T. E. for Thomas Adams,
1606, folio.
1608. Canzonets to three voyces, newly composed by Henry
Youll. . . .In London, printed by Thomas Este, the assigne of
William Barley, 1608, 4to.
1808. Musica Sacra to sixe voyces, composed in the Italian
tongue by Giovanni Croce. . . .(Same imprint), 1608, 4to.
[1608]. Ultimum Vale or the Third Booke of Ayres of 1, 2, and
4 voyces, by Robert Jones. Folio.
Evans, P. Ic ? 2 > High Holborn, published about the
year 1780, and prior, sheet and half sheet
music, which was very frequently only signed with the initials
P. E. One of these half sheets is " The Favourite Song sung
by Miss Brown in Three Weeks after Marriage." This play
was acted in 1776. Among others bearing the full name and
address is " The Faithful Maid, by the author of the Death of
Auld Robin Gray."
Ewer & Co. J onn Ewer & Co. were in trade as im-
porters of foreign music at 1 , Bow Church
Yard, Cheapside, in or before the year 1824. The firm was
46
afterwards Ewer & Johanning, at the same place, with another
address at 20, Titchbourne Street, Piccadilly; in 1853 their
address was 390, Oxford Street. They held copyrights
of Mendelssohn's works, and did an important business.
In 1867 they became united into the firm of Messrs. Novello,
as Novello, Ewer & Co., removing to No. 1, Berners Street,
the present premises of the firm.
Falkener, R. A printer of music sheets from move-
able type after the manner of Fought,
whose plant, judging from the similarity of the type, he
appears to have purchased. He worked about 1770-5, and was
at 3, Peterborough Court, Fleet Street, afterwards going
to 45, Salisbury Court, Fleet Street. The sheet music
was sold at a penny per page, folio, an innovation in cheap
music, for at that time the ordinary engraved sheet song of
2 pp. was sold at 6d, or 4 pp. at a shilling. The half sheet song
(engraved) was probably sold at 3d. One of Falkener's half
sheet songs is from the Duenna, acted 1775, with the imprint
" London, printed by R. Falkener, No. 3, Peterborough Court,
Fleet Street, where the choicest songs, etc., are sold at one
penny a page." Another song is "The Mighty Bowl, set by
J. Croft, London, printed and sold by R. Falkener, No. 45,
Salisbury Court, Fleet Street, where Overtures, Cantatas, and
the choicest Songs are sold at a penny a page."
Falkner & Christmas. A firm who about 1818-20
published sheet music. On
one song, sung by Miss Kelly at Drury Lane, is the following
imprint, " printed by Falkner & Christmas, late M. Kelly, at
the Opera Music Warehouse, 9 Pall Mall." See Christmas
and the following : —
Falkner H. 3> Old Bond Street, was in business in
1 82 1, probably having been a partner
with Christmas. About this date he published the sheet songs
'• Charlie is My Darling," and "Answer to Jessy the Flower of
Dumblane," this latter by C. N. Smith, and ingeniously con-
trived in style of title engraving to pass on unwary purchasers
as the original song, then popular, by R. A. Smith. Falkner
was in business as late as 1838. He issued a great deal of
sheet music.
Fentum John. 78, Strand, Corner of Salisbury
Street, or near Cecil Street, or near
the Adelphi. Was in business at this address as early as
1770 or 1773, while his descendant, Henry Fentum, held the
47
same premises nearly a hundred years after him. John Fentum
had an extensive trade, and published sheet and half sheet songs
during the latter half of his century. Some of these half sheets
are songs from the opera of the Golden Pippin, acted in 1773,
and another early publication contemporary with them is
a "Collection of Songs, set to music by J. B. Adams," folio pp.
15. On this is advertised some pieces of instrumental music.
A great number of his half sheet songs are only to be recognised
from the I. F., or Ino. F. stamped on the lower corner of the
plate. He also issued a great many books of dances and
cotillions, generally in oblong quarto, many of these being a
continuation of a series of dance books commenced by Francis
Werner, a master of the ceremonies at Almacks, etc. One of
them is for the year 1788, and another for 1789 "dedicated to
the subscribers to Willis's Rooms, Festino, &c, by Jno.
Fentum, who intends continuing this work in the same manner
as the late Francis Werner." Werner died in 1787. Others
of these yearly collections are dated 1792, 5, 6, 8, 1816, etc.
He and his successors also put forth annual sets of twenty four
country dances for the violin. I have seen copies for 1810,
1816, and 1825.
In 1853, Mr. Henry Fentum was at 78, Strand, and Mr.
A. J. Hipkins, who has very pleasant memories of him,
favours me with the information that he was a flute player of
ability who occasionally performed at the opera. Fentum's
shop is now gone, and its site absorbed into the Hotel Cecil.
Fentum, Catherine. No doubt a relation of the
foregoing John Fentum. She
published sheet songs about the year 1775-80. Her shop was
at 416 or 417, near Bedford Street, Strand. One sheet song
bears a large caricature engraving and is entitled "The Appre-
hension, or the Devil among the Lawyers, composed by I. B.,
London, printed for C. Fentum, 417, near Bedford Street,
Strand," circa 1775. Another is, " Maria, an Elegy... London,
printed for the author by Catherine Fentum, No. 416, Strand."
There are others, along with these, in the British Museum,
and some simply stamped " Ka. F-m." I have some reason
to believe that the Fentum family came from Ireland.
Fielding, John. A bookseller at 23, Paternoster Row,
who published two song books,
having the airs to the songs printed from moveable type. The
first was "The Convivial Songster," printed in 1782, small 8vo.,
and another, a more refined companion volume, was named,
"The Vocal Enchantress," bearing the date 1783; both are
48
adorned with beautifully engraved titles and frontispieces.
I have also in my library several small folio song sheets,
each with engraved music, and a charmingly etched pictorial
heading illustrating the song. These are tinted with water
colour, and appear to have been so issued. They bear
Fielding's name, and the engraved date, September 15th, 1785.
I have not seen any other musical works that may be referred
to him.
Filmer. It is stated in Burgh's Anecdotes of Music,
vol. 2, p 289, of Jean Baptiste Boesset, who
was a favourite French secular composer in the early part of
the seventeenth century, and a performer on the lute, that some of
his "Court Ayres, with their ditties Englished," were engraved
and published in London by Filmer in 1629. I doubt whether
any copy of this book now exists, though its original publication
may not be open to doubt.
Forster, \Af illiam. One of a family of fiddle makers,
who was born in 1739 at Bramp-
ton, in Cumberland, his father and grandfather being makers
of spinning wheels, and sometimes of violins. William
Forster came to London as a cattle drover, about 1 759, and
tried to get employment as a spinning wheel maker, but having
made gun stock, and occasionally a violin, he is said to have
found a more permanent place with a violin maker and music
seller named Beck, of this person I have as yet found no trace.
He left Beck, and one of his labels, said to be dated 1762,
gives: — "William Forster, violin maker, in St. Martin's Lane,
London, 1 762." It is likely that he now kept a small music shop
and seems to have been patronised and befriended by royalty.
A gentleman named Colonel West is mentioned as one of his
early patrons who gave him much needed help. In 1781
he had entered into an agreement with Haydn for the English
publication of the composer's works, and he seems to have
gone extensively into music publishing. In my own library is
"The Celebrated Opera Dances, as performed at the Haymarket,
1783, Book II1I," with the imprint " London, printed for W.
Forster, violin, violoncello, tenor, and bow maker to their
Royal Highnesses the Prince of Wales and Duke of Cumber-
land, also music seller to his Royal Highness the Duke of
Cumberland, corner of Duke's Ct., St. Martin's Lane."
Another publication of this period is " Six progressive Lessons
for the Harpsichord.... By Mr. Bach...Wm. Forster, corner of
Duke's Court, St. Martin's Lane." The opera dances for 1783
as above are advertised on this. The shop at the corner of
49
Duke's Court is now covered by a portion of the National
Gallery. In or about 1784116 removed to 348, Strand, near
Exeter Change. With this imprint he published yearly Country
Dances for the violin in oblong 8vo.; the set for 1787 is in the
possession of Mr John Glen. He remained at 348, Strand,
till after 1802, and died at Westminster in 1808, the business
being now carried on by his son, also named William and a
violin maker. About 1 814- 15 William Forster, junior, was at
another address in the Strand. He published a song from the
popular drama " The Old Oak Chest," " printed for Wm. Forster,
music publisher and musical instrument maker, 87, Strand,
opposite Southampton Street." The above William Forster
was born in 1764 and died 1824. He left a son, also a violin
maker, Simon Andrew, born 1801, died 1870. He was the joint
author, with William Sandys, of the " History of the Violin ," 1 864.
This work contains much information regarding the family, as
does also a privately printed quarto, the " History of the Foster
(or Forster) Family." published by John Camden Hotten.
Fought, Henry. At the Lyre and Owl in St.
Martin's Lane, printed and pub-
lished sheet and other music from metal type in which he
claimed to have made much improvement. He obtained
a patent for these improvements in 1767. He, by reason of
more rapid printing, was enabled to undersell the publishers
of engraved music, and by this appears to have gained much
ill will in the music trade. Hawkins' account of him, Avritten
in 1776, is as follows : — " About ten years ago, one Fought, a
native of Lapland, arrived here, and taking a shop in St.
Martin's Lane, obtained a patent for the sole printing of music
on letterpress types of his own founding, which were very
neat. The patent, had it been contested at law, would
undoubtedly have been adjudged void, as the invention was
not a new one. He published several collections of lessons
and sonatas under it, but the music sellers in London copied
Ins publications on pewter plates, and by underselling drove
him out of the kingdom." Hawkins is probably wrong in his
statement of the engravers underselling Fought. Appearances
are to the contrary, as Fought's single songs were sold at a
penny a page, or eighteen for a shilling, while the regular
price for a two page piece of engraved music was sixpence.
On the title page of the few collections of sonatas, etc.,
which I have seen of Fought's, appears a boldly engraved wood-
cut of an owl seated over a rocky cave ; a pair of scales, and a
torch also form part of the design.. In. these books also is
so
printed a resolution of the Society for the encouragement of
Arts, dated, December 28th, 1768, to the effect: — "The
society took into consideration the specimen of Mr. Henry
Fought's new invented type for printing music ; resolved — that
Mr. Fought's method of printing music is an improvement
superior to any before in use in Great Britain, and that it
appears to answer all purposes of engraving in wood, tin, or
copper for that end, and can be performed with much less
expense."
Besides some single sheet songs and pieces for the violin,
in my own library (bearing the following, in addition to the
imprint, "the choicest ballads at a penny a piece, or eighteen
for a shilling "), I have seen but the following works by
Fought: — "Six Sonatas for the Harpsichord, composed by
Sig. Giacomo Croce, Lsndon, printed and sold by Henry
Fought, at the Lyre and Owl, in St. Martin's Lane, near
Long Acre," folio. "Three Sonatas, for the Harpsichord,
composed by Giuseppe Sarti," oblong quarto ; both belonging
to Mr. Taphouse. Other works advertised on these are : —
" Uttini's Six Sonatas," inscribed to the Society of Arts,
" Sabatini's Six Sonatas."
The music printing in Fought's works is far in advance
of his period, and though the music is very full, the joining
of the type is seldom to be distinguished. For whatever
reason Fought gave up printing, it is likely he did it before
1770, for about that date R. Falkener purchased his type and
plant, and issued sheet songs in similar style, at the same
low price.
Fraser, Peter. Flourished about 1730, and published
C. 1730. The Delightfull Musical Companion for Gentlemen and
Ladies, being a choice collection out of all the latest Operas,
composed by Mr. Handel, Sig. Bononcini, Sig. Attilo, etc.,
vol. I ; Curiously engraven for ye Publisher, Peter Fraser,
and sold by him in Cdhduit Street, near Hanover Square,
8vo.
(Sir J. Stainer's Catalogue of Song Books ; Booksellers' Catalogue,
etc.)
Frecker, W. A grand pianoforte maker, of 31, Rath-
bone Place. His name is in the
directory for 1807. He may or may not have issued musical
publications.
French, J. Published about 1775 a large quarto
volume, " The Cathedral Magazine, or
Divine Harmony Vol. I, London, printed for J. French,
51
47 (opposite Hatton Garden), Holborn, and sold by all book-
sellers in Great Britain," quarto, engraved music, circa 1775.
He also continued " The New Musical and Universal Maga-
zine," vols. II and III [circa 1776 and 1777) ; a large octavo
serial publication with engraved music, published monthly,
and containing literary matter in addition. Bound up with
copy in my possession are Malcolm's Treatise on Music ; a
transalation of Rousseau's Dictionary of Music ; and Rameau's
Principles of Composition, all published by French, and one
bearing the date 1776. These appear to have been issued in
connection with the magazine. The first volume for 1775
was published by Richard Snagg.
Galabin, T. W. Ingram Court, Fenchurch Street,
published " Select Psalms and
Hymns, for the use of the Parish Church of Cardington, in the
county of Bedford," 8vo., dated 1786.
Ganer, Christopher. 47 and 48, Broad Street,
Carnaby Market, Soho. He
made pianofortes and was established here, and at No. 50, of
the same street, from at least 1796 till about 181 1. He
probably published sheet music.
Gardom, G. Music and Musical Instrument Seller,
23, St. James Street. He published " A
Favourite Lesson for the Harpsichord, or Pianoforte, com-
posed by Christopher Wagenseil London, printed and
sold by G. Gardom, at his music shop, St. James Street,"
oblong folio, circa 1780-5. Gardom was in business after
1807 at this address.
Gawler, W. *9> Paradise Row, Lambeth, published
sheet music near the end of the eight-
eenth century. His musical coadjutor seems to have been
one H. Skeats, many of whose songs he issued and who
arranged others.
At the back of one the pieces of music, " The Downfall
of Paris," is a catalogue of vocal and instrumental music pub-
lished by Gawler ; one is a song relating to the victory over
the French invaders at Fishguard in 1798.
GerOCk, C. 76, Bishopgate Street, within. He is
found at this address in 1805 and 1820.
From i8i5to 1818 he has another place of business at 1,
Gracechurch St., in addition. In 1824 he is in partnership
with Astor at 79, Cornhill, and in 1831 with Wolf at the same
address. Gerock and his partners were pianoforte makers,
and before the partnership he published sheet music and
country dances. Of these latter I have seen the yearly
collections of twenty-four for 1812 and for 181 3, in oblong Svo.
Gillray, James. The caricaturist was, in the early
part of his career, employed as a
music engraver, and several title-pages have his name attached.
One, in an ornamental design, is printed by Win. Napier, 474,
Strand.
Gladman, T. 2 4> Middle Row, Holborn, a music
seller, whose name is found on a music
sheet, circa 1790, " printed for G. Walker, 106, Great Portland
Street, and T. Gladman, 24, Middle Row, Holborn, engraved
by E. Riley, 196, Fleet Street."
Godbid, "William. A printer from moveable type
employed by John Playford, the
elder, for printing musical works. In 1658 he printed for him
" A Brief Introduction to the Skill of Music," and in following
years till 1674 later editions of the same work. IriXiG^g he
printed Christopher Simpson's " Division Violist," and in 1667
the same author's "Compendium of Practical Musick" ; this
latter for Henry Brome. Before the year 1679 William
Godbid had either died or resigned in favour of A. Godbid
(his son), who had entered into business with John Playford,
junior. The probabilities are that the elder Playford had
apprenticed his son to William Godbid, and that on completion
of the term, the two sons had taken over the printing office,
which was in Little Britain. In Campion's " Art of Descant,"
printed for John Playford in 1679, is the following advertise-
ment, signed by the elder Playford : — " All such as have any-
thing of musick to print are desired to take notice that the
ancient and only printing house in England for variety of
musick and workmen that understand it, is still kept in Little
Britain, London, by A. Godbid and J. Playford, junior, which
is also the usual house for printing mathematical books,
witness the different works of Dr. Fell, Dr. Wallis, Dr.
Barrow, Mr. Kersie, &c, there printed. Your servant, John
Playford." A. Godbid and J. Playford, the younger, printed
Playford's " Introduction to the Skill of Musick," 8th edition,
1679; " The Dancing Master," 6th edition, 1679; "Wit and
Mirth," 1682 (no music), and a small volume of engraved
map, " Atlas Maritimus," by John Seller, 1682. I have seen
no book bearing Godbid's name after this date, but in 1684
and 1685 John Playford, junior, alone, prints works for his
father and brother. Following the usage of the other old
typographers, William Godbid generally used his initials only
on his imprints (as did also his son and young Playford), but
in some cases it is " W. Godbid," — ■" William Godbid" in at
least one case ; similarly also with his son and his son's
partner.
Goillding & Co. This great firm was originally com-
menced by George Goulding, who
was probably in business before 1784. He issued sheet-songs
from the pantomime of Don Juan, acted in 1787, and other
sheet music, prior to and contemporary with this. His address
at this time was at " The Haydn's Head, No. 6, James Street,
Covent Garden," and shortly afterwards an additional one at
17, Great Turnstile, Holborn. About 1790 this latter gave
place to one at 113, Bishopgate Street, but while still keeping
his principal place of business in James Street, these two latter
addresses must have been only in force for a short time. From
James Street he issued annual sets of twenty-four dances in
oblong octavo. One of these is for 1792, and on it is advertised
a collection by Mr. Carter for the year 1788. Another yearly
set of dances from James Street is for 1797. Early in 1799
he removed to 45, Pall Mall, and took others into partnership.
The new firm was styled Goulding & Co., or Goulding, Phipps,
& D'Almaine, and they became music sellers to the Prince and
Princess of Wales. In 1803 they took additional premises at
76, St. James Street, and in 1804-5 na< ^ given both these
addresses up, and removed to 117, New Bond Street, with an
agency at 7, Westmoreland Street, Dublin. In 1808-9 the
number in New Bond Street was changed to 124. About
this time Phipps retired from the concern and probably com-
menced a business on his own account. The firm was now Gould-
ing, D'Almaine, & Potter. At the end of 181 1 they remove
their London address to 20, Soho Square, and Samuel Chappell
takes the shop at 124, New Bond Street. The firm remains
at 20, Soho Square till 1858. Sometime between 1830 and
1837, Goulding's name is absent from the firm, which is then
D'Almaine & Co., and in 1838 they advertise a catalogue of
200,000 engraved plates. In late years the name of the firm
was D'Almaine & Mackinlay, and in 1867 the whole stock
and plates were sold off by auction, owing to the death of Mr.
D'Almaine, which occurred in 1866 in his 83rd or 84th year.
In 1858 D'Almaine & Co. left Soho Square for 104, New
Bond Street, and at the present day the firm is still an im-
portant flourishing one.
54
The premises in Soho Square, from whence so much of
Goulding & D'Almaine's work was issued, is a fine old stately
mansion, now occupied, with no change in its external appear-
ance, by Messrs. Crosse & Blackwell, the pickle manufacturers.
The immense share that Goulding & Co. had in the pub-
lication of the music of its period, is realised in the vast
quantity of works bearing their imprint. During their early
period they published many of the important operas, particu-
larly those by Mazzinghi and Reeve, as well as some of a
rather earlier date by Shield, as " Robin Hood," " The Poor
Soldier," etc. They issued also many series of Country
Dances in folio, in oblong quarto, and oblong octavo. John
Parry seems to have been their principal musical arranger
of the dances, and they also published under his editorship a folio
collection of Scottish Melodies, and one of his " Selections of
Welsh Melodies." Another of Parry's works was the set of three
letterpress printed musical volumes, "The Vocal Companion,"
1829 ; " The British Minstrel," 1830 ; and "Flowers of Song,"
1837. Another work in several volumes, folio, was " Melodies
of various Nations," with words by Thomas H. Bayly, and the
music by Bishop and Stevenson. In the first volume of this
work, having the words " To the home of my Childhood,"
appears for the first time in print the air to which Howard
Payne wrote the song " Home, Sweet Home."
One of Goulding & Co.'s early and very humble publica-
tions, of interest to Scottish collectors, was an edition in small
oblong volumes of Aird's " Selection of Scotch, English, Irish
and Foreign Airs for the Flute." Another series of quaint
little volumes, at least twelve in number, at this period was
" The Gentleman's Musical Companion."
GOW, John & Andrew. These were two younger
sons of the famous Niel
Gow, the Scottish fiddler, who, coming to London, probably
set up a small music shop at 60, King Street, Golden Square,
where they acted as agents for their father's publications, and
their names, with this address, occur on the first editions of
Niel Gow's second and third collections of Strathspey Reels,
1788 and 1 79 1. After the death of Andrew, John Gow con-
tinued the business, and before 1804 had remdved to 31,
Carnaby Street, Golden Square, where he remained till 181 5
or 1816; in this latter year he was at 30 or 31, Great Marl-
borough Street, still in the same district. He did not stay
very long at this address, removing to 162, Regent Street,
where he, with his son, was publishing in 1824 as "John Gow
55
& Son." John Gow died in 1827, but the business was still
carried on.
In the earlier period, John Gow was principally agent for
his brother, Nathaniel Gow, and Gow & Shepherd, the Edin-
burgh firm; in the later period John Gow & Son were "music
sellers to his Majesty," and published vast quantities of sheet
dance music, — quadrilles, etc.
Greenhill, X. This name, as the engraver, appears
on one of four small volumes in oblong
octavo, entitled " Ayres for the Violin; to wit, Preludes, Fuges,
Allmands, Sarabands, Courants, Gigues Composed by
Nicola Matteis. T. Greenhill, Scul." Concealed in the
ornamentation of a crown, which heads the title page, is the
date, 1685. The volumes are in Mr. Taphouse's library, and
concerning them Dr. Burney quotes Roger North to the pur-
port that Matteis " observing how much his scholars admired
the lessons he composed for them, which were all trios, and
that musical gentlemen who heard them wished to have copies
of them, he was at the expense of having them neatly engraved
on copper plates, in oblong octavo, which was the beginning
of engraving music in England, and these he presented, well
bound, to lovers of the art and admirers of his talents, for
which he often received three, four, and five guineas. And so
great were his encouragement and profits in this species of
traffic, that he printed four several books of ' Ayres for the
Violin,' in the same form and size."
The statement that these books was the beginning of
engraved music in England is, of course, utterly incorrect.
Griffin, Edward. Printed in 1641 "The First Book
of Selected Music...... Collected by
John Barnard London, printed by Edward Griffin, and are
to be sold at the signe of the Three Lutes in Paul's Alley,
1 641," folio. No perfect copy of this work is known to exist,
some parts of it are in the old Sacred Harmonic bociety's
library.
Halliday & Co. 23, Bishopgate Street, Within,
issued sheet music, including a
folio series of Country Dances. Nos. 5 and 9 bear the above
address, and the last named number was published shortly
after 1809. He is mentioned in the directory for 1807.
Hamilton, A. 22I > Piccadilly, published about 1810,
an edition of Pasquali's Thorough Bass,
edited by J. Jousse, in oblong folio, also in the same size at an
56
earlier date. The " Spirit Song," from Shakespeare, set to music
by Haydn. Hamilton was in Piccadilly from before 1799 till
after 1815; then- in Wardour Street till at least 1825.
Hannam, J. 162, Sloane Street. He published a
series of Country Dances in folio, for the
pianoforte. Number 2 has a watermark 1800 and is printed
shortly after that date.
Hannam, H. Had a musical circulating library at 4,
London Road, Southwark, near the
Obelisk. About the years 1808-14 he "taught pianoforte
playing, singing, the German flute, and patent flageolet; the two
former at 3 guineas per quarter, the latter at four lessons for a
guinea." He published two or three small quarto volumes,
being a "Selection of Celebrated Irish Melodies, for two
German flutes," directly taken from Moore's Irish Melodies, but
under the old names of the? tunes. Hej like other music
sellers before the introduction of the disfiguring rubber stamp,
had an engraved slip bearing his name and address, which he
was in the habit of pasting over the imprints of such sheet
music as fell into his hands for sale. ... ■,
Harbour, Jacob. A music seller and " musical
' instrument maker," who arranged
three sets of Country Dances; the two first of which were pub-
lished by Longman & Broderip in 1796. About 1797 he issued
from his own address, 5, Lamb's Conduit Street, a third book
in oblong quarto. In the directory for 1807 he was at 13,
East Street, Red Lion Square.
Hare, John & Joseph. These two, father and son,
were important music sellers
and publishers during the early part of the eighteenth century,
and we're closely associated in trade with the elder John Walsh.
John Hare, the father, held a music shop bearing the sign
" The Viol," or " Golden Viol" (under several more or less
eccentric forms of spelling), situate in St. Paul's Church Yard,
and having also a house and place of business in Freeman's
Yard, off Cornhill. Mr. Barclay Squire kindly drew my
attention to a publication (in the British Museum) of John
Hare's, the earliest which, up to the present, I have yet found,
this is dated 1697, and is a tiny oblong engraved volume, being
the eleventh edition of a book for the flageolet, the ninth edition
of which was published by John Clarke, probably about
57
1680-5, at the same sign — the Golden Viol — in St. Paul's
Church Yard. Portions of the later edition of the work are
from the old plates, and Hare has undoubtedly succeeded to
Clarke's business and stock-in-trade. The title of Hare's
edition is : — " Youth's Delight on the Flageolet ; the third
part containing ye newest lessons with easier directions than
heretobefore. Being ye i.ith edition, with additions of ye
best and newest tunes. Printed, and are to be sold, by John
Hare, at ye Viol, in St. Paul's Church Yard, and at his shop
in Freeman's Yard, in Cornhill, nere ye Royal Exchange.
Musical Instrument seller, 1697" (very small oblong ; frontis-
piece and folding plate from the old plates).
Another very early publication by John Hare is in Mr.
Taphouse's library. It is engraved throughout and is in
oblong 8vo. " The Complete Flute Master, or the whole art
of playing on ye Rechorder, lay'd open in such easy and plain
instructions, that by them ye meanest capacity may arrive to
a perfection on that instrument ; with a collection of ye newest
and best tunes, composed by the most able masters, to which
is added an admirable solo ; fairly engraven on Copper Plattes.
London, printed and sold by I. Hare, musical instrument
maker, at ye Golden Viol, in St. Paule's Church Yard, or at
his shop in Freeman's Yard, in Cornhill, near ye Royal
Exchange ; and I. Walsh, Musicall Instrument maker in
ordinary " (rest cut off).
John Walsh (who at this time, was now established to
the westward) and John Hare soon seem to have worked in
common, and many sheet songs and more important publica-
tions printed in the very earliest years of the eighteenth
century, bear this, and similar, imprints : — " London, sold by
I. Walsh, musical instrument maker in ordinary, to his
Majesty, at ye Golden Harpe and Hoboy, in Catherine Street,
in ye Strand, and I. Hare, at ye Golden Viall, in St. Paule's
Church Yard, and at his shoppe in Freeman's Yard, in Corn-
hill, near the Royal Exchange, and I. Young, musical instru-
ment maker, at ye Dolphin and Crown, in St. Paule's Church
Yard." " Bononcini's Ayres in 3 parts" (Taphouse); "Select
Preludes and Voluntarys for the Violin," " The First part of
the Division Violin" (Glen), with others and with sheet songs
all have the names of Walsh and Hare, with the latter's
address in St. Paule's Church Yard.
I have not been able to discover the precise year of Hare's
removal from St. Paul's Church Yard. " The Monthly Mask
of Vocal Music," which was published bv Walsh & Hare,
58
from 1703 to at least 1722, in monthly numbers, might have
been looked upon as supplying a clue, but such copies of the'
earlier years as I have seen, pr^vokingly enough, give no
address. I should, however, fix the date of Hare's giving up
his shop in St. Paul's Church Yard as about the year 1706.
His name, with the Cornhill address only, being present on
Walsh's " Country Dances for 1708," and on Walsh's publica-
tion, " The Union," a dance performed at Court in 1707.
Richard Meares is, in 1722 and 1723 (probably' also prior),
found at Hare's shop, The Golden Viol, in St. Paul's Church
Yard. In Freeman's Yard, at the sign of the Viol and Flute,
John Hare had a shop and dwelling house (with Daniel Defoe
as a neighbour), doing a large trad? in music and instruments.
One of his early publications from the Freeman's Yard address
is mentioned by Dr. Rimbault in a communication to " Notes
and Queries " (5th series, vol. V, p. 503). It is a copy,
so far as title goes, of a work published by Henry Play-
ford in 1700 and 1701, but the contents, of which Rimbault
prints a list, are quite different. " A Collection of Original
Scotch Tunes for the Violin ; the whole pleasant and comicall,
being full of the Highland Humour, London, J. Hare, at the Viol
and Harp, Cornhill, near the Exchange," oblong 8vo., no date.
Rimbault supposes the year of publication to be 1704, which
may be correct or may be two or three years too early. The
sign the "Viol and Harp" may be an error of transcription,
or possibly Hare's original designation for his house. As in
the case of John Walsh, Brerriher, and others, Hare first
adopted the ephithet "Golden" as a prefix to his sign, the
Viol and Flute, but soon, like the others above named, the
gilding on the emblems outside the shop must have got worn
off or dirty, and not renewed, for on later imprints it does not
occur.
Hare still kept up his connection with John Walsh, whose
shop in Catherine Street must have commanded a fast growing
fashionable trade, especially as Walsh enjoyed royal favour,
and his situation at the west-end of the town would give him a
monoply ; for nearly all the rest of the music shops at this
time were still clustered round St. Paul's and in the neigh-
bouring Cornhill. At one time there are evidences that Hare
& Walsh had quarrelled, for several of Walsh's plates, originally
bearing Hare's name, have the latter erased by the scraper
and burnisher. At a later date they came together again.
It was perhaps about 1 720 that the name Joseph Hare
first appears with that of his father on Walsh's imprint ; it is
59
present on the title page of Floridant, by Handel, first edition,
folio [1722], " London, printed and sold by I. Walsh, and
Jno. & Joseph Hare, at the Viol and Flute, in Cornhill, near
the Royal Exchange," and on Dr. Croft's "Musica Sacra," 1724,
of which Lowndes speaks as "the first work stamped on pewter
plates," a statement not to be reconciled with that which has
been made regarding Walsh, who is said to have commenced
stamping pewter plates about 1710.
There are other works which have John & Joseph Hare's
name in conjunction, but none of these can be after September
1725, at which time John Hare died. The numerous publica-
tions with the simple initial " I. Hare," may be either Joseph
or John, according to date. After his father's death Joseph's
name, with that of Walsh, stands alone on the imprints, as on
"The Merry Musician," vol. II, circa 1728 (the first volume
bearing his father's name). " Sonatas of 3 parts out of
Geminiani's Solos by Francesco Barsanti." " Babell's
Concertos," etc. Joseph Hare, in 1728, subscribes for twelve
copies of Galliard's " Hymn of Adam and Eve." After his
death, which occurred in July, 1733, the business seems to
have been left in charge of his widow, apparently under the
management of John Simpson, but this was not for long, as
there are indications that John Simpson soon took it over,
while Mrs. Hare retired from the City to the purer air of
Islington, dying in 1741, and being buried in the new vault in
Saint Michael's Church, Cornhill, along with her father-in-
law, her son, and her husband. I have been fortunate enough
to find, among the records of the above church (which is the
parish church for Freeman's Yard), some dates and particulars
which fix more definitely the conclusions I had arrived at
from other sources regarding the deaths, &c, of the Hare
family.
Burials — 1725, September gth, John Hare, in the New Vault.
1728, April 28th, John, son of Joseph Hare and Elizabeth his
wife.
1733, July 17th, Joseph Hare, in the New Vault.
1741, July 8th, Elizabeth Hare, widow from Islington, in the
New Vault.
Hare, Elizabeth. Probably a connection of the pre-
ceding. It is not unlikely that
she was a daughter of Joseph Hare, as his wife bore the
same Christian name. She had a music shop also in
or near Cornhill, but in a different part. Mr. John
Glen, of Edinburgh, is in possession of two books of Country
Dances for the years 1750 and 1751, with the following title
60
and imprint, " Twenty-four Country Dances for the year 1750,
with proper tunes, figures, or directions to each dance The
true genuine dances will be published every year in this
volume and character. N.B. — There is just published a choice
collection of Minuets and Rigadoons, for the violin, German
flute, hautboy, or harpsichord, pr. 6d. Speedily will be pub-
lished the second collections of Jiggs and Hornpipes, pr. 6d,
London, printed for and sold by Elizabeth Hare, opposite the
Mansion House, near Cornhill," oblong 8vo., p.p. 13 to 24,
thus showing that the yearly dances must have commenced
with those for 1749. The dances for 1751 bear the same title,
and are paged from 25 to 36. In the British Museum (G 350)
there is a sheet song having an imprint of the same name
" On Windsor Castle, sung by Mr. Low, at the Theatre
Royal in Drury Lane — (commences " Hail Windsor, etc.") —
printed for Eliz. Hare, at the Viol and Hautboy, in Cornhill,
near the Royal Exchange." I think that latter piece of music
may be printed for the wife of Joseph Hare at the old shop,
but with the emblems, Viol and Flute, changed to Viol and
Hautboy, and not for the daughter who issued the dances for
1 750- 1, from opposite the Mansion House.
Harper, Thomas. An earl y printer from moveable
type, whose earliest date, so far
as my researches go, is 1633. " The Whole book of Psalms,
with the Hymns London, printed by Thomas Harper, for
the Company of Stationers, 1633" (Taphouse). He was the
first printer employed by John Playford, and set up " The
English Dancing Master London, printed by Thomas
Harper, and are to be sold by John Playford," 1651, oblong
4to. He probably also printed the second edition of the
'•Dancing Master," dated 1652, but the imprint merely gives
"printed for John Playford." He printed also for Playford
the first edition of Henry Lawes' " Ayres and Dialogues,"
1653, folio.
Harrison T. Succeeded to the business of a book-
seller named J. Wenman, of Fleet Street,
between September 1778 and April 1779, but at another address:
18, Paternoster Row. He continued Wenman's series of old
plays, and re-printed the older novelists and essayists, mostly
in large octavo, illustrated by copper plates. The earliest of
these plates bear the name J. Harrison, and the date April 1st,
1779. So far as I have found, his earliest musical publication
is the opera "Two to One," which has the engraved date of
publication with the imprint. "July 5th, 1784, Harrison & Co.,
61
1 8, Paternoster Row." Many other operas followed, all in
oblong folio, with an oblong quarto edition for the flute. In
November, 1788, Harrison & Co. are possessed of another
warehouse, "Dr. Arne's Head," 141, Cheapside, corner of the
New London Tavern, in addition to the shop at 18, Pater-
noster Row. This latter address was continued until at least
August, 1796. Afterwards (about 1798) the firm is styled
Harrison, Cluse & Co., of 78, Fleet Street. Before 1802 they
have removed to 108, Newgate Street.
Harrison & Co.'s musical publications are all engraved,
and, as before stated, include a number of the popular English
operas, Handel's "Messiah," "The Chaplet," and "Solomon,"
by Dr. Boyce, "Spenser's Amoretti," by Greene, " Stabat
Mater," Pergolesi, " The Laurel," by Baildon, " Lyric
Harmony," by Dr. Arne, each two books, etc., all in oblong
folio, with smaller editions. They published also in upright
folio several collections of sheet songs, as "The Monthly
Magazine," 1795, "The Lady's Musical Magazine," 1788,
and "The Gentleman's" ditto; these have nicely engraved
titles. Another of their issues was "The Pianoforte Maga-
zine." This extended to about thirty volumes in large octavo.
They also commenced a musical dictionary in oblong folio
(letterpress), but from some reason, what promised to be a
useful work, was cut short in its early numbers.
Haviland, John. Printed from type an octavo
volume " The Principles of
Musick, in singing and setting with the two-fold uses thereof
by Charles Butler, Magd., Master of Arts. London,
printed by John Haviland, for the author, 1636." (Taphouse.)
Butler was an Oxford author, who had previously written a
book " The Feminine Monarchic, or the History of Bees,"
1634.
Heptinstall, T. A printer of music from type, and
the first to introduce the new tied
note into type music printing. The earliest date I have
found for his work is 1690, when he printed Purcell's " Songs
in Amphitryon," and the latest 171 3. The new tied note
referred to above was afterwards improved by William Pear-
son. It was an innovation in type music for readiness of reading.
By it the quavers and smaller notes were joined or grouped
together, where previously they had all been printed separately.
In engraved and written music, this had already been done,
but that which could be easily effected by a graver or pen, was
no easy matter in typography. The new notes too had the
62
advantage of round heads instead of lozenge shaped ones.
Heptinstall, though he printed from the tied note in 1690 and
later, yet his printing of the Dancing Master, 1703, was from
the old form of type.
1690 Songs in Amphitryon. .H. Purcell. .London, printed by
J. Heptinstall, for Jacob Tonson, at the Judge's Head in
Chancery Lane, 1690, 4to.
1691 The Vocal Musick of the Prophetess, or the History of
Dioclesian. .H. Pnrcell. .printed by J. Heptinstall, for the
author, and sold by John Carr, 1691, folio. (Matthew.)
A Song in the Double Dealer, sung by Mrs. Ayliff. .set by
Mr. Henry Purcell. .. .printed by J. Heptinstall, for John
Hedgebutt, folio. Also Songs in the Musical Play, Mars
and Venus ; The Indian Queen, 1695 ; Don Quixote, printed
for Samuel Briscoe, 1694, folio, etc.
1695 Purcell & Blow; Three Elegies upon the much lamented
death of our gracious Queen Mary. .London, J. Heptinstall,
for Henry Playford, 1695, folio. (Matthew.)
1693-96 Thesaurus Musicus, being a collection of the newest songs
performed at their Majesties' Theatres, 5 books, 1693-96. . . .
J. Heptinstall, for John Hedgebutt, folio.
1695-96 Delicias Musicae..for Henry Playford, 4 books, 1695-96.
1696 Ode on the Death of Mr. Henry Purcell, 1696, folio.
1697 Te Deum and Jubilate. .H. Playford, 1697.
1698 The Whole Book of Psalms, 4th edition .... printed by
J. Heptinstall, for the Company of Stationers, and sold by
1713 Samuel Sprint, at the Bell, in Little Britain, and byH. Play-
ford, at his shop in the Temple Change, and at his house in
Arundel Street, 1698. Ditto, the 12th edition, 1713. (Matthew)
1702 The Metre Psalm Tunes for the Parish Church of St.
Michael's Belfry, York. .London, J. Heptinstall, for Thomas
Baxter, bookseller in Petergate, York, 1702, oblong 8vo.
(British Museum.)
1703 The Psalm Singer's Complete Companion, .by Elias Hall,
1708, 8vo.
Hill, Joseph. A celebrated violin maker, born in 1715,
died 1784. He worked at ye Harp and
Hautboy, in Piccadilly, about 1740, afterwards in High
Holborn, then at ye Violin, in Angel Court, Westminster, and
finally at the Harp and Flute, in the Haymarket, in 1762.
He published from here some volumes of music, a copy of the
title page of one is forwarded to me by Mr. Arthur F. Hill,
his descendant, " A Set of Easy Lessons for the Harpsichord,
dedicated to the Public, opera trentesima prima, London,
63
printed for and sold by Joseph Hill, musical instrument maker,
at the Harp and Flute, in the Haymarket, where may be had
Six Easy Lessons for the Harpsichord, by different authors,
also a variety of Music and Musical Instruments." It has a
curious preface signed J.M.
Hindmarsh, Joseph. His name appears as pub-
lisher on at least one work,
printed by John Playford, junior: — "A Third Collection of
New Songs, never before printed, the words by Mr. D'Urfey
London, printed by J. P., for Joseph Hindmarsh, at the
Golden Ball, over against the Royal Exchange, Cornhill,"
1685, folio.
Hodgson, P. Maiden Lane, Covent Garden. A
music engraver and music seller who
issued many folio sheet and half sheet songs about the years
1770 to 1780. A small oblong quarto collection of airs for the
guitar (title page gone), containing an air from "The
Deserter " (1773), has his name, with the address, as engraver.
Most of his sheet songs are only to be recognised by the
initials P.H.
Hodsoll, "William. A music seller who in 1794 was
at Seven Oaks, Kent, and who
about or prior to the year 1800 entered into the premises
formerly occupied by John Bland, at 45, Holborn. His name
is in the directory for 1800 till at least 1830. He issued sheet
music and sets of yearly country dances in the usual form,
oblong 8vo and oblong 4:0. He published also two thin folio
volumes entitled "Terpsichore's Gift," the work consists of
his separately published sheet songs and pieces. Another of
his publications, in oblong quarto, bears the same title and
allegorical vignette.
Hoffman, A. Issued a first book of Country Dances
for the year 1796, " London, printed for
the author, 124, Oxforfi Stt^et," oblong 4to.
Hole, William & Robert. Engraved in 161 1 the
celebrated work :—
" Parthenia, or the Maydenhead of the first Musicke that euer
was printed for the Virginalls : composed by three famous
Masters; William Byrd, Dr. John Bull, and Orlando Gibbons
Engraven by William Hole for Dorethie Evans, cum
priviligo, printed at London by G. Lowe, and are to be sould
at his house in Loathbury," no date, folio [161 1] .
6*
Copies in the British Museum, Bodleian, and Old Sacred
Harmonic Libraries. It was reprinted by the Musical Anti-
quarian Society.
Robert Hole is said, by Chappell, to have engraved a
work of similar character for the Virginals and bass viol, under
the title " Parthenia Inviolate," not dated.
Holland, Henry. Kept a music shop in St. James'
Street, Piccadilly, and published
about 1790 a little sheet music; his engraved label is also
frequently found pasted on other sheets. He is probably the
same Henry Holland, whose name as an organ builder in
Little Chelsea is given in the Musical Directory for 1794. One
sheet song, circa 1780-5, " Our Bottle and Friend," is ''sold
for the author by Henry Holland, Bedford Row.
Holloway, T. He was, up to 1S20-1, in partnership
with Phipps, but at this date he set
up for himself at 5, Hanway Street, and remained there till
after 1853. He published a great deal of sheet music. About
1825 he issued many songs, with comic illustrations etched on
the title page and margins, as " O tis Love," "Bubbles," etc.
About 1 81 5 a firm, Holloway & Co., wholesale music sellers
and musical instrument makers, was at 40, Hart Street,
Bloomsbury. Some sheet music bears this imprint. (See also
Phipps &> Holloway.)
Hopkins, F. S. 4 2 ' Bishopgate Street, Within,
republished from the same plates a
series of Country Dances in folio — " Davies' Occasional Col-
lection of Popular Dances," originally engraved by J. Davies,
of 90, High Holborn. Hopkin's reprint was probably about
1 81 5, and no doubt he published sheet music. He was
possibly afterwards partner in the firm Paine & Hopkins.
Horn W. 8> Frederick Place, Borough Road, pub-
lished sheet music about 1820-5. He was
possibly a relation of the musician, C. E. Horn, as he published
some of the latter's work.
Horsfield, Robert. A bookseller who in 1763 was
at the Crown, 22, Ludgate
Street, and at 5, Stationer's Court, Ludgate Street, in 1775.
He published two or more volumes of a song book in 121110.,
with the music type printed « Vocal Music, or the Songster's
Companion." one volume of which is dated 1775. The fourth
volume of the series was printed about 1778 by J. Bew.
There are one or two editions of this work.
65
Hummell, A. Published about 1770 "A Collection of
Lessons for the Harpsichord by Sigrs.
Wagenseil, Bach., Agrell, etc., book first, London, printed for A.
Hummell, at his music shop, facing Naussau Street, in King's
Street, St. Anne's, Soho," oblong folio, also " Six Sonatas, for
the Harpsichord by Christopher Wagenseil, op. prima,"
same imprint, oblong folio.
Hunt, Richard. Published in 1683 a well-known,
but scarce little volume : — " The
Genteel Companion, being exact directions for the Recorder,
with a collection of the best and newest tunes and grounds
extant. London, printed for Richard Hunt, and Humphrey
Salter, at the Lute, in St. Paul's Church Yard, 1683," oblong
8vo., with a type printed title, music engraved. (British
Museum, Taphouse, etc.)
Jones, E. Printed from type in the lozenge shaped
note the 8th edition of the " Dancing Master,
1690, for Henry Playford." No printer's address being given.
Tones & Co. 2 3> Bishopgate Street, Within, published
"Twenty Four Country Dances for the
year 1803 London, printed and sold by Jones & Co., at
their music warehouse, No. 23, Bishopgate Street, Within,"
oblong 4_to. (Mr. Herbert Thompson.) They also published a
volume under the title " The Gentleman's Pocket Companion,
for the German flute." The name in the directory for 1802 is
Tho. Jones, music warehouse, at the above named address.
In 1 806- 1 809 Jones, Rice, & Co., who may be the same firm,
are pianoforte makers, at 11, Golden Square ; in 1 805 they
are " Coal Merchants " here — evidently a misprint.
Jones & Company. Temple of the Muses in Fins-
bury Square, succeeded to the
business founded by James Lackington, a well-known and
eccentric bookseller. I doubt whether they were connected
with the Jones & Co. mentioned above. They came into
great prominence as literary and musical publishers, about
the year 1820-5, and held place till nearly the forties.
They published a thick octavo volume of glees, &c,
named " Social Harmony," republished " The Seraph," and
printed from type George Thomson's Collection of Scottish
Songs. This is dated 1834 and has the title " National
Melodies of Scotland " ; whether a piracy of Thomson's
famous work or not I am unable to say, but no reference is
made on the title or elsewhere to him. Jones & Co. also
66
published the collection " Universal Songster," 3 vols., 1825,
etc., without music.
Johnson, John. At the "Harp and Crown, facing
Bow Church, Cheapside." A pub-
lisher of many important works. He was probably in busi-
ness about, or prior to 1740, and may have then, or earlier,
transferred to Cheapside the trade carried on by Daniel
Wright, junior, in St. Paul's Church Yard. One is led to
this conclusion by the fact that trace of Wright is lost at
that period, and that one of Johnson's earliest publications is
entitled "Wright's Country Dances," in two volumes, with a
preface signed D. Wright, who was doubtless the Daniel
Wright in question, and from the early character of the
engraving it appears likely that the books are from plates
originally issued by him.
Besides yearly sets of twenty-four Country Dances, and
volumes of two hundred of the same, Johnson issued a higher
class of music, generally particularly well engraved, and printed
on stout paper of good quality. In 1760, when Charles
Dibdin first came to London he got employment here as a
harpsichord tuner. About 1762 there are indications that
John Johnson had died, and that he was succeeded by his
widow, for the name, " Mrs. Johnson," is appended to one or
more pieces of music which have this engraved date. In 1763,
however, the old name, John Johnson, is resumed, whether by
reason of a son of the same Christian name holding the shop, or
from the retention of the old name, I am unable to say, but
" John Johnson " for the second time remains on the imprints
till 1765 or 1766.
In 1766 or 1767 James Longman & Co. opened a music
shop at 26, Cheapside, which did not face Bow Church, but was
nearer St. Paul's, between Old Change and Friday Street, and
it remained for many years in the hands of the firm and their
successors. James Longman and his partners seem to have
obtained the right to use Johnson's sign, the " Harp and
Crown," though it appears as if Robert Bremner had got most
of the plates, for in the list of Bremner's publications purchased
by Preston in 1789, many are easily identified.
Longmans' used the imprint " Harp and Crown, 26,
Cheapside " for some years, but in due course changed the
sign to " The Apollo."
Meanwhile, Mrs. Johnson did not abandon the premises
"facing Bow Church," which now bore the number no,
Cheapside, though there is no mention of the " Harp and
67
Crown ; I cannot trace any of her issues later than 1771.
The following are some few of Johnson's publications : —
C. 1735 or 1740. Wright's Compleat Collection of Celebrated Country
Dances. . . .Vol. I, printed for I. Johnson, musical instrument
maker, at ye Harp and Crown, in Cheapside, London,
oblong 8vo. (Taphouse.)
Ditto: reprinted about 1750, with alterations.
C. 1740. A Favourite Concerto .... Sig. Hasse, set for the Harpsi-
chord Ino. Iohnson, Harp and Crown. (A fulio sheet.)
C. 1740. The Pleasant Musical Companion. .. .J. Johnson, at ye
Harp and Crown, facing Bow Church, in Cheapside, oblong
4to. A copy of Henry Playford's earlier publication with
same title. (Taphouse )
1744. A Choice Collection of 200 Favourite Country Dances, vol.
3, 1744, J. Johnson. . . .where may be had Wright's 1st and
2nd volumes of Dances, oblong Svo. (Bodleian.)
1748-51. Ditto, vol. 4, 1748 ; vol. 5, 1750; vol. 6, 1751.
C 1748. Caledonian Country Dances, 3rd edition, oblong 8vo. (bears
a M.S. date 1750, volume II advertised on vearly dances for
1755)-
1749. Twelve Country Dances, for the harpsichord, for 1749,
oblong Svo. (Glen.)
1752. Twenty-four Country Dances, for 1752, oblong Svo. (Glen.)
Ditto for 1755 ; Ditto, 1765 ; Ditto, 1766. (All these dances
were published in the autumn of the vear prior to their
date.)
1747. Eight Setts of Lessons for the Harpsichord, by James
Nares. 1747, oblong folio.
C. 1748. Eight Suits of Easy Lessons for the Harpsichord, Mr.
Felton, folio.
C. 1755 A Collection of English Songs and a Cantata. .. .Edward
Miller, folio.
C. 1755. Six Sets of Lessons for the Harpsichord, composed by Mr.
Gillier, oblong folio.
C. 1755. Twelve English Songs, serious and humorous. .. .by the
newly invented method of composition with the Spruzzarino
. . . .for the author. (Taphouse.) [This is by B. Gunn, and
is an interesting reply to a satirical attack made by William
Hayes, of Oxford, who practically accused Gunn of splashing
music paper with ink and merely adding tails and strokes so
as to form musical notes,]
1756. Six Concertos for the Harpsichord .... by Thomas Chilcot,
of Bath. 1756, folio.
1758. The Whole Book of Psalms .... set to music by Mr. John
Travers, folio.
1758. The Harmonical Miscellany, by F. Geminiani ; No. I
printed for the author. . 1758, folio.
1761. Worgan's 10th book of Songs, 1761, folio.
68
1763. Piece de Clavecin by F. Geminiani. . ..for the author,
1763, folio.
C. 1763. Artaxerxes Opera, by Arne, oblong folio.
(All the above bear the imprint of John Johnson ; the follow-
ing that of Mrs. Johnson).
1762. Second Collection of Pieces for the Harpsichord. .. .by F.
Gemiriani, London, printed for the author by Mrs. Johnson,
in Cheapside, 1762, folio.
1765. Catches, Glees, and Canons. .. .composed by Dr. Hayes,
Book II, printed for fhe author, T765, and may be had of
him in Oxford, Mrs. Johnson, opposite Bow Church, Cheap-
side, London, and Mr. Bremner, in Edinburgh, oblong folio.
1770-1. Worgan's nth Book of Songs, 1770; Ditto, 13th Book,
1771, Mrs. Johnson, no, Cheapside.
Johnson, R. Published about 1810 "Three Waltzes
for the Pianoforte, by Mozart, London,
printed for R. Johnson, New Bond Street," folio.
Johnston, John. He was the publisher of some of
Charles Dibdin's early works,
which include the opera "The Padlock," acted in 1768.
In 1769 Johnston published several musical works in connec-
tion with the Stratford Jubilee. His first address was No. 11,
(corner of) York Street, Covent Garden, and afterwards to an
address or addresses in the Strand, which are variously termed :
"Opposite Lancaster Court," "Near Northumberland House,"
" Near Exeter Change." Johnson was in York Street in 1770,
and "Near Exeter Change" in 1773. He published "The
Waterman," acted 1774, and probably about this year or
shortly afterwards ceased business. On some of his later
imprints Longman and Lukey's names occur ; they seem also
to have afterwards bought the plates and re-issued some of the
operas.
Johnston's publications include, " Shakespear's Garland,"
folio, 2 books, and one or two other publications connected
with the Jubilee in 1769; " Six Select Songs and a Cantata,
by James Newton," circa 1774 ; " Twenty-four English
Country Dances, by V. Southern," dated 1773, oblong 4to,
and some other dances, as well as larger works. His operas
include, " Lionel and Clarissa," " The Padlock " (both acted
in 1768), " King Arthur," altered from Purcell (performed
1770), " The Deserter " (acted 1773), and " The Waterman "
(1774)-
KauntZ, G. Published a sheet song : — " Croppies lie
Down, a favourite Irish song, printed by
G. Kauntz, opposite the Admiralty." The Directory for 1802
69
gives, " Kauntz & Hyott, music sellers, 2, St. James Street."
Kearsley, G. A Fleet Street bookseller, who in 1760
printed and published an engraved folio
volume " by assignment from Dr. Arne," — " The Monthly
Melody." He afterwards used the sign the " Johnson's Head,"
and he and his successors were important literary publishers
well into the next century, but I have found no other musical
work of theirs than the above.
Kelly, Michael. Another musician publisher who, if
the story is true, also " composed
wines and imported music." Before 1803 he had a shop at 9,
Pall Mall, named " The Music Saloon," and became bankrupt
here in September, 181 1. He published a few works from his
house, g, New Lisle Street, Leicester Square, including his
opera " Of Age To-morrow " [1805] .
Kelly, Thomas. x 7> Paternoster Row, published
" The New Musical and Vocal
Cabinet, 1820," 2 vols., i2mo. The music is from moveable
type.
Kingston, John. Was an early printer who printed
books between 1553 and 1584,
having a shop in St. Paul's Church Yard, near the west door.
He is said to have printed two books of " Instructions for the
Lute," besides two or three editions of the " Sarum Missal,"
etc. Johnson's Typographia gives the date of the first lute
book as 1568, in broad quarto, and the other 1574. This latter,
by Le Roy, is in the British Museum.
Kitchin, Thomas. In Bartlett's Court, near St.
John's Gate, Clerkenwell, pub-
lished " The English Orpheus." This is a quarto engraved
publication, with each song headed by an illustration ; it was
afterwards republished as an entirely new work in 1745 by
Newbery, under the title " Universal Harmony," with all
trace of the original publisher's name, and the name " English
Orpheus " erased from the plates. Many of these plates are
dated 1743, with the first title engraved at the top and Kitchin's
name at bottom of each ; he was presumably the engraver.
The work must have come forth in numbers, I have never
seen a title page.
Knibb Thomas. Published a small engraved book
of Psalms entitled, " The Psalm
Singer's Help, being a collection of Tunes in three parts
10
London, printed for and sold by Thomas Knibb, near Spital
Square, Bishopgate, without ; also by G. Keith, Gracechurch
Street, and at Messrs. Straight & Skillern's music shop, in
St. Martin's Lane, the end next the Strand," iztno., circa 1775.
Lane, Newman, & Co. Leadenhall Street, pub-
lished in London many
song books, printed and sold by Oliver & Boyd in Edinburgh.
Two of these having music printed from type are " The
English Minstrel," and " The Scottish Minstrel," the latter
dated 1807, i2mo. ; some copies have Oliver & Boyd's imprint
and others the London firm's. Before 181 1 the house was A.
K. Newman & Co., the publishers of the well known " Minerva
Press " series of novels.
Latham, George. His name appears on " Ayres or
Fa las, for three voyces, by John
Hilton printed by Humfrey Lownes, and are to be sold by
George Latham, at the Bishop's Head, in Paul's Church
Yard, 1627," i2mo., and on " The Seventh Set of Bookes
by Michael East printed for William Stansby and George
Latham," 163S, 4to.
Latour, Francis Tatton. Was first in business
with Samuel Chappell,
but about 1826 founded one of his own at 50, New Bond
Street, where he published sheet music. About 1830 Chappell
bought Latour's stock and copyrights and removed into his
premises.
Lavenil, Lewis. ^ s appears by an advertisement in
the Times of April 4th, 1796, was
at 23, Duke Street, St. James, and with this address he pub-
lished a set of dances for 1798. A sheet song with the
engraved date, October, 1800, shows that he was then at 29,
New Bond Street, and music seller to the Prince of Wales.
In 1803 he had entered into partnership with Mitchell. In
1806 and 1807 Lavenu & Mitchell's number in New Bond
Street was 26, but in 1809, and onward till after 1838, the
premises are numbered 28, New Bond Street. It may be
here as well to mention that so far as change of number goes,
all music sellers who established themselves in Bond Street
developed a fidgetiness difficult to account for. As these
changes in the numbers of their shops did not all occur at the
same time, it does not seem to be altogether owing to are-num-
bering of the street. In 1809 Mitchell appears to have dropped
out of the firm, and L. Lavenu stands alone. Mitchell was
71
probably the same who about this time published from 159,
New Bond Street, and Southampton Row.
In 1838 the firm at 28, New Bond Street is Mori &
Lavenu ; this was the son, Louis Henry, in partnership with
Mori, the musician.
Meanwhile about 1820 there is a publisher of music, E.
Lavenu, at 24, Edwards Street, Manchester Square, who was
in existence to at least 1826.
All the Lavenus issued sheet music ; at the earlier period
generally coarsely engraved on blue tinged paper.
LawSOn, H. A musical instrument maker at 29, St.
John's Street, Fitzroy Square, in 1802
and 1807. He may have published some small musical works.
About 1820-5, J. Lawson, of 198, Tottenham Court Road, pub-
lished No. 6 of " A Collection of Popular Dances," folio, and
some sheet songs from the same address.
Lewer, J. Re-published about 1760 a charmingly en-
graved quarto book of songs and music,
entitled " Amaryllis." The work is in two volumes, and has
each plate headed by an illustration ; it was first published in
1749 by J. Tyther, to whose music shop Lewer succeeded ; it
was again re-issued by Longman & Lukey. Lewer's imprint
is : "J. Lewer, musicall instrument maker and musick printer,
facing to Broad Street, Moorfields."
Lewis, Houston & Hyde. Succeeded J. Bland at
45, Holborn, sometime
near the year 1796. The Hyde was probably Fredk. Aug.
Hyde who, with Collard and Davis, went into partnership with
Clementi about 1798. They published sheet music, and either
followed or preceded F. Linley. In 1794 there was a firm of
pianoforte makers named Houston & Co. at 54, Great Marl-
borough Street.
Light, Kdward. Lived at Kensington in 1794. He
was, if not the absolute inventor,
the maker of the instrument known as the harp-lute, popular
about a hundred years ago, and less. He was also a teacher and
performer on the guitar, and issued many books of instructions
and lessons for the two above-named instruments. In several
title pages he claims to be the inventor of the Harp- Lute or
Apollo- Lyre, and lyrist to the Princess of Wales; his address
is given as 8, Foley Place, near Cavendish Square. At a
later date Wheatstone & Co. make Harp- Lutes, and publish
instructions for the same by John Parry.
72
Linley, F. Was successor to John Bland, of 45, Hol-
born, near the year 1796-7. He published
sheet music and the 8th book of Glees by S. Webbe. William
Hodsoll had taken over the business prior to 1800.
Lisle, Laurence. Published in 1614 " Ayres made
by several authors and sung in the
Maske of the Marriage of the Rt. Hon. Robert, Earle of
Somerset London, printed for Laurence Lisle, dwelling at
the signe of the Tiger's Head, in Paul's Church Yard," 1614,
4to. A copy in the British Museum.
Locke, W. I2 > R e d Lion Street, Holborn, published
an oblong 4to volume (type printed),
" The Anacreontic Magazine," the engraved title page is dated
1792, the work was continued by Goulding.
Longman & Co. I n or before the year 1767, James
Longman, with others were estab-
lished at the Harp and Crown, 26, Cheapside ; the same sign
as John Johnson's, but not in the same premises as his which
were facing Bow Church, while Longman's shop was between
Friday Street and Old Change, on the opposite of Cheapside
and nearer St. Paul's. John Johnson at this time disappears
from the music trade, and it is likely that the Longman firm
had bought his goodwill or adopted his emblem. Robert
Bremner seems to have become possessor of his plates.
Some of the very earliest of their publications were the
yearly sets of Minuets and Country Dances for 1768, published
in the autumn of 1767. These they continued through a long
series of years, the pagination running continuously until two
hundred dances had been reached, when the dances were
re-printed and issued in volumes. The dances for 1768 start
at page 1 ; for 1770 at page 25 ; for 1 772 at page 49 ; etc. Other
works of the same early period are " Compleat Instructions for
the Guittar," " Twelve Songs and a Cantata for the Guittar,"
and several companion works in oblong 4to. All these early
publications have the imprint "J. Longman & Co., Harp and
Crown, 26, Cheapside," and the firm is first mentioned in the
Directory in that for 1770, where it is given as "James Long-
man & Co., musical imstrument makers, 26, Cheapside." In
the latter part of the year 1771 the firm was Longman, Lukey
& Co., and this remains till 1777 or 1778, when it is styled
Longman, Lukey & Broderip, the last named being either
Robert Broderip, a Bristol organist, or his father, John
Broderip, of Wells.
73
In 1779 Lukey is absent from the firm, which now
remains as Longman & Broderip and exists till 1798, in which
year it becomes bankrupt, and the original James Longman
had given place to John Longman.
Before 1785 Longman & Broderip had taken another
branch shop at 13, Haymarket, and their business had grown
to an enormous extent. At the dissolution of the firm John
Longman entered into partnership with Clementi, the musician,
retaining the shop at 26, Cheapside, and Broderip had com-
bined with Wilkinson and continued the business at 13, Hay-
market (for accounts of these later firms refer to their respec-
tive headings in the present volume). About 1801 or 1802
John Longman left the firm of Longman & Clementi, and set
up for himself at 131, Cheapside (Directory for 1802). He
here published " A Selection for the Present Season of the
most popular Dances, Reels, Strathspeys with proper
figures," in numbers, folio, and some sheet songs, one of which
has the imprint " Longman & Co., 131, Cheapside, from 26." It
is likely that he was not in business very long.
James Longman & Co., before the entrance of Lukey into
the firm, published in general small works for the guitar,
violin, etc., and Country Dances. Longman, Lukey & Co.
extended the business greatly and issued larger and more im-
portant works. In Longman & Broderip's time their publica-
tions were practically limitless, and include a very large
number (about a hundred) of the English Operas then being
produced, almost always in the oblong folio form. The sign
" Harp and Crown " appears only to have been used in the
very earliest period, before Longman & Lukey. In Longman
& Broderip's it was changed to " The Apollo." At one time
Longman & Lukey's names are found on some of John John-
son's issues, they afterwards bought his plates for the " Pad-
lock," and other works. The following are a few characteristic
publications of the different periods.
J. Longman & Co., Harp and Crown, 26, Cheapside.
New Minuets for the year 176S ; do. 1770, oblong 8vo.
Twenty-four Country Dances for 1770, oblong 8vo.
Circa Compleat Instructions for the Guittar, oblong 4to.
1767 Twelve New Songs and a Cantata, oblong 4to.
to Twenty-four Easy Airs, by R. Haxby.
1770 Eighteen Duettinos, by Wm. Bates
Love in a Village, folio ; etc , etc.
Two Concertos, by J. Stamitz.
Six Easy Hymns or Anthems, by Edward Clark. Organist of
St. Paul's.
74
Longman, Lukey & Co.
Twenty-four Country Dances, for 1772, oblong 8vo.
Twenty-four new London Contra Dances, for 1776. Ditto
for 1778, oblong 8vo. Also Minuets for the above years.
Six Glees for three voices, by John Broderip, folio.
The Ladies Frolick, a comic opera (1778), oblong 4to.
Songs, etc., in The Institution of the Garter (1771).
The Comic Tunes, Songs, and Dances in the Pigmy Revels,
by C. Dibden (acted 1773), folio.
The Golden Pippin (1773)
Twelve Songs, by Jackson, of Exeter, folio, and others by
the same. Sheet Songs and other publications.
Longman & Broderip.
The English Operas in oblong folio, numbering over a
hundred.
Longman & Broderip's Compleat Collection of 200 favourite
Country Dances, Vol. I and II, advertised in Longman's
list for 1781-2 ; also annual Collections of Minuets.
A Musical Fan, with Country Dances engraved on it, and
several packs of cards bearing Country Dances.
Longman & Broderip's Selection of the most favourite
Country Dances, Reels, etc., a 1st, 2nd, 3rd, and 4th selection
in oblong 4to., with numerous other collections of dances.
Longman & Broderip published such quantities of musical works
that it is here impossible to give any proper idea of their scope. They
also made musical instruments of every description, Harpsichord, Piano-
fortes (one of these latter so small as to be used in a coach, and so advertised.
Mr. Taphouse, of Oxford, has one of them), Spinets, Pedal Harps,
Guitars, etc., etc In addition to the engraved lists on sheet music, the\'
also published octavo type printed catalogues of their new music, dated
1781-2, September 1786, April 1789, 1790, etc.
Lownes, Humfrey Humfrey Lownes was an early
A TV/T ++Vi printer succeeding at the
ana IViattnew. same address, Peter Short, who
dwelt "at the signe of the
Starre, on Bred Street Hill." Peter Short, whose latest date
is about 1603, printed in 1597 Thomas Morley's " Plaine and
Easie Introduction to Practical Musicke," and of this work
Lownes made an exact reprint in 1608, using the same
elaborate woodcut title page (small folio). If title pages are
absent (frequently the case) the two editions are difficult to dis-
tinguish, but the 1597 has an errata on last page of "Annota-
tions," and at the front the notice "To the Curteous Reader,"
in 1597 has the catch word "although " at the foot, and the
1608 the word " may."
75
At a later date another Humfrey Lownes, probably a
grandson, and son of the following Matthew Lownes, printed
Hilton's book of " Ayres or Fa las, for three voyces, 1627,"
no address is given. Matthew Lownes was a bookseller, and
possibly a printer whose name and initials occur on musical
work? printed by Snodham and other printers between 1610
and 1624. Michael Este's " Third set of Bookes, wherein are
Pastorals, Anthemes,"etc, dated 1610, is "printed by Thomas
Snodham, and are to be sold by Matthew Lownes, dwelling
in Paule's Church Yard, at the signe of the Bishop's Head,
1610."
MaCOCk, J. Printed in 1672, " An Essay to the
advancement of Musick, by casting away
the perplexities of different cliffs by Thomas Salmon
London, printed by J. Macock, and sold by John Car, at the
Middle Temple Gate, 1672," i2mo. ; a famous book that
occasioned much controversy. Another of Macock's printing
is " The Whole Book of Psalms Sternhold & Hopkins and
others London, printed by J. M., for the Company of
btationers, 1687." Other earlier editions of Sternhold &
Hopkins' Psalms, with the music, are printed for the Com-
pany of Stationers by G. M., in 1632 and 1642, etc.,
probably the father of J. Macock.
Magazines. The eighteenth century London maga-
zines in general devoted a page or two
every month to poetry, which included the songs then singing
at the theatres, and frequently in addition were given songs
with the music, and perhaps also a fashionable country dance
tune. Other London magazines, which were almost entirely
devoted to music, are mentioned in the present volume under
the headings of their respective publishers ; some of the
literary ones spoken of above are the following :—
The Gentleman's Magazine commenced with music in
October, 1737, and had music in every volume till 1756, with
several scattered pieces afterwards. The music was cut upon
wood.
The Universal Magazine commenced in July, 1747; music
first started in- 1748 or 1749; music in every volume up to
1776. Music cut in wood.
The New Universal Magazine published an engraved
music sheet every month, headed with pictorial illustrations by
B. Cole. It was first published in 1751 by M. Cooper, at the
Globe, in Paternoster Row, probably son of the T. Cooper, at
the same address mentioned under the heading Bickham in the
76
present work. The New Universal Magazine ran till at least
1758-
The London Magazine, The Lady's, The Royal, and the
European, all published a music page, either set up in type or
cut in wood.
Later than these, in the early years of the succeeding
century " La Belle Asemblee," " The British Lady's Maga-
zine," and others similar had engraved sheets of music as part
of their contents.
Major, R. 7> High Holborn, published Twenty-four
Country Dances for 1820, and engraved,
printed and edited a small quarto work in numbers :—'• The
Musical Companion, or Complete Pocket Museum, for the
Flute," reaching to at least four volumes, circa 1825-30.
Mayhew & Co. The firm commenced as Phillips,
Mayhew & Co., who were at 17, Old
Bond Street, as music sellers to the Duke and Duchess of
Kent in 1819. There was, in 1802, a William Phillips, who
was a musical instrument maker on Little Tower Hill, it is
possible he may be of the above. They published sheet music
and some time near the year 1822 the firm became Mayhew
& Co. at the same address, who were in existence till about
1835, when Leoni Lee is "music seller to his Majesty," at
the same address. Mayhew & Co. were prolific publishers of
sheet music, principally songs.
Meares, Richard. A music printer and musical
instrument maker of some import-
ance, who was established at the Golden Viol and Hautboy,
in St. Paul's Church Yard, in or before 1714. The Hautboy
of the sign was soon dropped, and this afterwards remained as
the Golden Viol. There seems a likelihood that he took over
John Hare's old shop, which, in turn, had also belonged to J.
Clarke, for both these adopted the sign of the Golden Viol,
and were in St. Paul's Church Yard.
One of the earliest books of Meares' I have seen is
" Pieces de Clavecin," by J. Matheson, 1714, in Mr. Tap-
house's library. Regarding this work Hawkins tells an
anecdote of Handel, " Matheson had sent over to England, in
order to their being published, two collections of Lessons for
the Harpsichord, and they were accordingly engraved on
copper and printed for Richard Mears, in St. Paul's Church
Yard, and published in the year 1714. Handel was at this
time in London, and in the afternoon was used to frequent St.
Paul's Church Yard for the sake of hearing the service and of
77
playing on the organ after it was over, from whence he and
some of the gentlemen of the choir would frequently adjourn
to the Queen Anne Tavern, in St. Paul's Church Yard,
where was a harpsichord. It happened one afternoon when
they were thus met together, Mr. Weely, a gentleman of
the choir, came in and informed them that Mr. Matheson's
lessons were then to be had at Mr. Mears' shop, upon which
Mr. Handel ordered them immediately to be sent for, and
upon their being brought, played them all over without rising
from the instrument."
Meares printed, circa 1722 or 1723, the additional airs in
Handel's " Floridante," and other works, some of which are
mentioned below. Mr. Arthur Hill possesses, among his
large and curious collection of trade cards, one issued by
Meares in three languages, English, French, and Italian, as
follows : — " Musical Instruments, viz., all sorts of Harps,
Lutes, Gittars, Violins, Base Viollins, Base Viols, Tenor
Violins, Viols D' Amour, Trumpet- Marines, and all other
sorts of Musical Instruments curiously made to the greatest
perfection by Richd. Meares, at the Golden Viol and Hautboy,
in St. Paule's Church Yard, London, where is sold the best
French and Italian and Roman strings : also all foreign and
domestiok Musick, printed and sold wholesale and retail."
I have not been able to discover in what year Meares
ceased business ; probably it was before 1730.
1714 Pieces de Clavecin en deux volumes. . . .par Mr. J. Matheson
Seer 1714, London, printed and sold by Richard Meares,
Musical Instrument Maker and Musick printer, at the
Golden Viol and Hautboy, in St. Paul's Church Yard, folio.
(Taphouse.)
The Anthem which was performed in King Henry the
Seventh's Chapel, at the funeral of the most noble John,
Duke of Marlborough. .. .by M. Bononcini. Thos. Cross,
sculp. London, printed for Richard Meares, musical instru-
ment maker, at the Golden Viol, in St. Paul's Church Yard,
folio.
Musicus Apparatus Academicus, Being a Composition of
Two Odes. . . .performed in the Theatre at Oxford, on Mon-
day, July 13th, 1713 set to musick by Wm. Croft....
London, printed for the author. .. .and at Richard Meares,
musical instrument maker and musick printer, in St. Paul's
Church Yard. Engraved by Thos Atkins. (2 vols., folio,
with finely engraved title page). (Taphouse.)
1722-3. All the Additional Celebrated Aires in the Opera of
Floridante, composed by Mr. Handel, London, printed for
Richard Meares. . . .Golden Viol, folio.
78
1723. An Introduction to Psalmody. . . .by John Church. . . .Lon-
don, engraved by T. Cross for R. Meares, musick printer, at
the Golden Viol, in St. Paul's Church Yard, 1723. Svo,
engraved.
Meere, H. A printer, sometimes confused with the
above. He printed from type for Walsh,
senior, the two following works : — "The Merry Musician, or
a Cure for the Spleen," vol. 1, 1716, and "The Compleat
Country Dancing Master," vol. 1, 1718, and vol. 11, 1819.
These are the only works I have found having his imprint ;
his address is not given.
Midwinter, D. (and Edward) These were book-
sellers, presum-
ably father and son. In 1708, J. Heptingstall printed for D.
Midwinter the " Psalm Singer's Compleat Companion," by
Elias Hall, "printed for D. Midwinter, at the Three Crowns,
in St. Paul's Church Yard, and sold by W. Clayton, book-
seller, in Manchester, 1708," 8vo.
About 1725 Edward Midwinter's name occurs on the 18th
edition of the " Dancing Master," as selling the same at the
Three Crowns, in St. Paul's Church Yard, and at the Looking
Glass, on London Bridge." His name and these two addresses
are also on a non-musical work, " New Remarks of London,"
1732.
Mitchell, C. Published sheet music about 1805 from
51, Southampton Row, Russell Square.
On " Mitchell's Selection of Dances," sheet folio, circa 181 5,
the address is changed to " 159, New Bond Street, opposite
Clifford Street."
Monro, J. His first address, about 1810-12, was at 60,
Skinner Street, Snow Hill, Holborn, and
from here he issued sheet music and published yearly sets of
Country Dances in oblong 8vo., for 1817, 1818, 1820, 1821.
A great number of his sheet songs and publications are
arranged and composed by himself. One of these is a song with
music on the death of the Princess Charlotte of Wales ; printed
on this is a list of his publications. A large work in three
octavo volumes is " The Gleaner, or Select Flute Miscellany
compiled, arranged, and partly composed by J. Monro."
This appeared in numbers, the first of which is after 1820.
All the above named have the Snow Hill address, but before
the year 1834 he had entered into partnership with another,
and the firm, as Monro & May, had removed to 11, Holborn
Bars, producing a similar class of work, and still continuing
79
the yearly oblong Country Dances ; one set is for 1834. They
are in business at Holborn Bars till at least March 1847, but
as their name does not occur in the Musical Directory for
1853, it may be presumed that the house is then non-existent.
Monzani, Theobald. Had a music shop, according
to an advertisement in the
♦Times,' of May gth, 1799, in Pall Mall. In the Directory
for 1802 the entry is Monzani & Cungdor, 2, Pall Mall. In
1806 he is alone and is a music and instrument seller, at 3,
Old Bond Street,* where in 1807 the firm is Monzani & Co.,
and in 1808 and 1810 Monzani & Hill; about this time they
have also an address at 100, Cheapside. At a later date (about
1 81 5) Theobald Monzani & Co. are music sellers to the Prince
Regent at 24, Dover Street, Piccadilly. They published sheet
music, vocal and other kinds, including some Italian songs for
three voices, in oblong folio, from here, and about 1820-25
songs with the imprint, " Monzani & Hill, music sellers in
ordinary to His Majesty, 28, Regent Street."
Mori & LavenU. The first was Nicolas Mori, the
violinist, and the other Louis
Henry Lavenu, both noted performers. They were in partner-
ship during the thirties at 28, New Bond Street, and published
some sheet music. Mori died in 1839. (See Lavenu.)
Morley, Thomas. The musician who had granted
to him by Queen Elizabeth
a continuation of the monoply in music printing and
importation enjoyed by William Birde and Thomas Tallis,
the full details of which are to be found in the Introduction to
the present work. Morley had been a pupil of Birde, and, like
his master, was a gentleman of the Chapel Royal ; he was
admitted in July, 1592.
Although Birde was still alive, the patent which had been
granted to him for twenty-one years was after its expiration,
and in 1598 transferred to Morley. Morley died in 1604 and
his patent was afterwards held for some years by William
Barley.
Though Thomas Morley cannot have been a printer, yet
" Madrigals to five voyces, by Richard Carlton," bears the
following imprint : — " London, printed by Thomas Morley,
dwelling in Little St. Helens, 1601," 4to. This seems to be
the only instance of his name appearing thus.
Murgatroyd, J. 73> Chiswell Street, His name, in
1797, is attached as publisher to a
thick oblcng octavo book of Psalm Tunes, as under. The
* H. Falkner was at this address in 182 1.
80
book is printed from stamped pewter plates, including the
prefixed Introduction to Singing. " A Collection of Psalm
Tunes, for publick worship, adapted to Dr. Watt's Psalms
and Hymns by Stephen Addington, D.D., the twelfth
edition, printed for and sold by J. Murgatroyd, Chiswell Street,
London, 1797," oblong 8vo.
Napier, William. A Scotch music seller who was
born about 1 740-1 and in busi-
ness in London some time before 1773 at a shop, the corner of
Lancaster Court, being No. 474, in the Strand. From this
address he issued a great many publications of importance in
his period. These include instrumental music, sheet and half
sheet songs, principally Scottish, arid collections of dances,
etc. He published also some operas in oblong folio as "The
Flitch of Bacon" (1778), "The Maid of the Mill" (1782),
" Rosina " (1783). These, along with other works, were sold
to J. Dale before the year 1786.
In Sibbald's Edinburgh Magazine for 1789, p. 207, it is
recorded that " when John Samuel Schroeter came to London
he was recommended by J. C. Bach to Napier, who soon dis-
covered his merits as a composer, and purchased the copy-
right of his works at a liberal price."
Sometime shortly before the year 1790 Napier removed
to 49, Great Queen Street, and from here published a folio
collection of Scots Songs in numbers, extending to three
volumes, the third of which is not common and was perhaps
not fully completed. The first and second volumes have
frontispieces by Cos way and Hamilton, engraved by Barto-
lozzi; the first of these plates is dated Feb. 1st, 1790, and the
other 1792, both having the address 49, Great Queen Street,
Lincoln's Inn Fields. He was here till after 1794, but near
the end of the century removed to Lisle Street, Leicester
Square, from whence he published some sheet music and a
selection of dances, etc., in folio.
The earliest notice I have found of Napier is as a sub-
scriber to Eastcott's Sonatas, dated January, 1773, in which
" Mr. Napier, Strand," is mentioned as taking six copies.
William Napier, as indicated in the Musical Directory
for 1794, was a public performer on the violin and was not
only " music seller to their Majesties," but a member of the
Royal Band, no doubt playing his part as best he might,
in those famous royal family music meetings, where George III
so contentedly sawed away on his violoncello. A notice of
his death is given in the Scots Magazine for August, 1812, as
81
follows: — " Died lately at Somerston [query Somers Town,
London] Mr. William Napier, in the 72nd year of his age.
He was distinguished for his musical skill and for the beauti-
ful selections of Scotch ballads, which he edited. For many
years he belonged to his Majesty's band, but was obliged to
retire on account of the gout in his hands, to which he became
a victim."
The following are some few of his publications ; his sheet
music is very frequently merely stamped with the letters
W. N.
C. 1774-5. The Favourite Minuets performed at the Fete Champetre,
given by Lord Stanley at the Oaks, and composed by the
Rt. Hon. the Earl of Kelly. . . . London, printed for and sold
by William Napier, the corner of Lancaster Court, Strand,
oblong 4to.
C. 17S0. A Miscellaneous Quartette for two violins, a tenor and a
bass .... selected from the English, Scotch, Irish, German,
and Italian music. Composed, adapted, and arranged by
the most eminent masters .... Same imprint, folio. Several
numbers, ornamental title, signed Gillray, Sculp.
The Hermit, a favourite English Ballad by Dr. Beattie, set
to music... by Signor Giordani. .. .printed for William
Napier, No. 474, Strand, folio. Afterwards sold to Joseph
Dale, and reprinted by other music sellers.
17S2. Summer Amusement, July 29th, 1782. Twelve Country
Dances, and three Cotillions, entirely new.... by Wm.
Burnett and James Rawlins. To be had of the authors,
London, printed by William Napier, No. 474, the corner of
Lancaster Court, in the Strand, oblong i6mo.
Twelve Minuets. .. .humbly inscribed to Lady Yonge, by
the author (no name given), printed for Wm. Napier, music
seller to their Majesties, corner of Lancaster Court, Strand,
oblong 4to.
A Collection of Minuets, in which is that favourite one
danced by Madame Heinel at the Opera house in the Hay-
market.
Operas : — The Flitch of Bacon, oblong folio (1778) ; The Deaf
Lover (1780) ; Rosina (1783) ; The Maid of the Mill (1765
and 1782) ; all these were sold to Dale with others for the
sum of /540. (See Dale.)
1790. A Selection of Original Scots Songs in three parts; the
harmony by eminent masters ; dedicated to her Grace the
Duchess of Gordon. Vol. 1, folio, London, printed for Wm.
Napier, music seller to her Majesty, 49, Great Queen Street,
Lincoln's Inn Fields. (It is divided into three numbers,
with separate titles to each, and has a dissertation on
Scottish Music by William Tytler, and a frontispiece).
82
1792. Ditto, vol. 2, the harmony by Haydn. Dedicated to the
Duchess of York. (The third volume was entered in
Stationer's Hall in 1794; the frontispieces to vols. 1 and 2
are dated respectively 1790 and 1792. A later issue of the
two volumes has the prefix " Favourite" instead of
" Original " to Scots Songs.
C. 1798-1800. Napier's Selection of Dances and Strathspeys, .printed
for Wm. Napier, music seller and musician in ordinary to
his Majesty, Lisle Street, Leicester Square, where may be
had Napier's Three volumes of Scots Songs. Folio.
Sheet music also bears this address.
Newbery, J. At the Bible and Crown, without Temple
Bar. This was the John Newbery who
was afterwards in St. Paul's Church Yard, and was Oliver
Goldsmith's publisher. His only claim to be included in the
present volume is by reason of his re-publication of Kitchin's
"English Orpheus" (see Kitchin), under the new title,
" Universal Harmony." The plates bearing Kitchin's name
are dated 1743, but Newbery's reprint was published in 1745.
The later title of this book is " Universal Harmony, or the
Gentleman and Lady's Social Companion, consisting of a
great variety of the best and most favourite English and
Scots Songs, Cantatas, &c, with a curious design by way
of head piece expressive of the sense of each particular song,
all neatly engraved on quarto copper plates London,
printed for J. Newbery, at ye Bible and Crown, without
Temple Bar, 1745, T. Kitchin, Sculp.," quarto, p.p. 126.
The proposal for publishing this work by subscription is given
in " A Bookseller of the Last Century," by Charles Welsh,
taken from the General Evening Post, of January 17th, 1745.
Newbery was afterwards famous for children's books, but I
have seen no other musical publication bearing his imprint.
Norman, Mrs. Musick seller in St. Paul's Church
Yard, subscribes for 12 books of
Cluer's " Pocket Companion for Gentlemen and Ladies," vol.
1, circa 1724. It is possible that music or musical instruments
may be found bearing her name, though up to the present I have
seen none. It may be conjectured as to what relation she was
to Barak Norman, the viol maker, who also lived in St. Paul's
Church Yard, said to have been born in 1688, and to have died
in 1740. She cannot be his widow if this last date is correct.
Novello & Co. This firm, one of the greatest in the
publishing world, owes its origin to
Mr. Vincent Novello, a musician of Italian-English parentage,
who in 181 1 commenced the publication of sacred collections
83
of music engraved and printed at his own expense, and issued
from his residence. The first of these was " A Collection of
Sacred Music," 2 volumes, folio, being music performed at the
Chapel of the Portuguese Embassy, where he was organist.
Other musical works of the Roman Catholic service followed,
as " A Collection of Motetts for the Offertory," etc., in 12
books, "Twelve Easy Masses," 3 volumes, 1816; a collection
of Mozart's and Haydn's Masses, in 18 and in 16 books,
followed by five folio volumes of early music taken from the
manuscript collection in the Fitzwilliam Museum, Cambridge,
and many others. It is quite evident that Vincent Novello's
publications were issued not as a means of profit, but purely
from the love of his art.
In 1829, his son, Joseph Alfred Novello, embarked in
business as a music publisher at 67, Frith Street, Soho, and
his first important work was a continuation of Purcell's
Sacred Music, begun by his father in December, 1828, and
completed in 72 numbers in October, 1832. This was again
re-issued in 1842-44. In 1834, J- Alfred Novello moved from
Frith Street to 69, Dean Street, and in March 1836
commenced the issue of a musical journal, " The Musical
World," a very small octavo magazine, which was, in January
1838, sold to another publisher and continued in a larger size.
The " Musical Times " was commenced in 1844 and has, from
its commencement, held the position of one of the most impor-
tant musical papers in the country. With the Musical Times
was projected the cheap octavo editions for which Messrs.
Novello's are still so famous. There was in 1845 established
a city branch of the Novello house at 24, Poultry, with the
sign of the " Golden Crotchet," and cheap type printed
editions of the " Messiah," and others of Handel's works
appeared in due order. The Novello firm had much opposition
to contend with in breaking into the set traditional usages of
the trade, but the great energy of the head of the house and
his able helpers soon made a path of which others did not
fail to take advantage. In 1857 " Hymns, Ancient and
Modern," was commenced, previous to which, in 1852, a new
edition of Sir John Hawkins' "History of Music" had been
begun. In 1861 the firm was first styled Novello & Co., and
in 1866 Mr. Henry Littleton, who had been associated with
the house since 1841, became sole proprietor; Mr. Novello
having retired in 1856. In 1867 the firm of Ewer & Co. was
incorporated with the house, which, in that year, removed its
chief centre to I, Berners St., while still retaining its other
84
premises in Dean Street, Soho, besides having a New York
branch.
It is of course here impossible to deal at length with the
house of Novello, Ewer & Co. and its publications — besides, this
has been well and fully done in a work published by the firm.
I therefore ask the reader to refer to the interesting volume
itself, from which most of the brief particulars above have
been taken ; the book — " A Short History of Cheap Music,
as exemplified in the records of the house of Novello, Ewer &
Co.," 1887 — is, I believe, still in print, as well as an equally
interesting volume, " Life and Labours of Vincent Novello."
Oswald, James. A Scottish musician who came to
London in 1741. From an adver-
tisement quoted by Dr. Laing in the new edition of Johnson's
Museum, 1853, ■* appears that in 1734 he was a dancing
master at Dumfermline, and that in 1736 and 1740 he
was in Edinburgh, having then published one or two books of
compositions and attained some degree of fame as a musician.
The books advertised as published and to be published by him
before he left Scotland are " A Collection of Minuets, adapted
for the Violin, Bass Viol Composed by James Oswald,
Dancing Master," advertised in the Caledonian Mercury,
August 12th, 1734. Another notice in the same paper,
January 6th, 1736, is to the effect that " Mr. Oswald is to pub-
lish his book of Musick against Friday, the 16th of January,
inst." On May 8th, 1740, he advertises " Whereas Mr.
Oswald, Musician in Edinburgh, is, at the request of several
ladies and gentlemen, publishing by subscription a collection
of Scots Tunes, before he sets out for Italy, which will con-
sist of above 50 tunes, never before printed, all within the
compass of the Hautboy and German Piute, with a Thorough
Bass for the Harpsichord and Spinnet," etc., etc. For full
text of these interesting announcements see Dr. Laing's Intro-
duction to Johnson's Museum.
In the Scots Magazine for November, 1742 there is
advertised "Two Collections of Favourite Scotch Tunes, set
for a Violin, German Flute, or Harpsichord, by J. Oswald,"
these latter were certainly re-issued by John Simpson, of
London. Oswald does not appear to have gone to Italy, but
to London instead, and in the Scots Magazine for October,
1 741, a lengthy "Epistle" in verse is printed on the occasion
of his removal. This piece of poetry is particularly interesting,
and contains some information regarding him and his com-
position and arrangements.
85
After Oswald's arrival in London practically little is known
of his movements during the first five or six years. He seems
to have got into communication with John Simpson, of
Sweeting's Alley, and may have done work for him in which
his name does not appear. In a list of Simpson's publications
circa 1745, at the end of an edition of the "Delightful Pocket
Companion," there are mentioned "Two Collections of all the
most favourite old and new Scotch Tunes, most of them with
variations, entirely in the Scotch taste The first book new
engraven the size of the second, with the addition of several
new airs. Also a new set of tunes, composed in the Scotch
taste for the tragedy of Macbeth, dedicated to his Royal
Highness the Prince of Wales, by Mr. James Oswald, each
book 4s. od." Another one advertised in the same list is
" Twelve Songs set to musick in the Scotch taste, by Mr.
James Oswald, is. od." The first named " Two Collections "
was probably a work first published by Oswald in Edinburgh,
and re-engraved in London by Simpson. It was possibly
afterwards incorporated into " The Caledonian Pocket Com-
panion," the work by which Oswald is best known.
After Oswald had been some time in London, he set up
a music shop in St. Martin's Lane, quite close to the church,
and afterwards numbered 17. It is very difficult to fix the
date for this but I think it cannot have been much before
1747. It was about this time that a small number of
musicians, amateur and professional — probably less than half-
a-dozen — grouped themselves together, anonymously under
the title " The Society of the Temple of Apollo." Charles
Burney, then a young man, was one, James Oswald another,
John Reid, afterwards General Reid, who, born about 1720,
died in 1807, ^ e ^ the bulk of his property towards endowing
a professorship of music at the University in Edinburgh, was
another, and no doubt several others whose identity may be
only guessed at. This society, which, in several cases, com-
bined in the production of a work, published through Oswald,
and in fact nearly all Oswald's issues are either compositions
or arrangements of his own or those by members of the
society. There is also reason to believe that Oswald, for
some cause, set fictitious names to several of his own works.
It has been assumed that compositions bearing the names
Dottel Figlio*, and Giuseppe St. Martini, of London, are by
Oswald himself, the latter being indicative of his address. It
is quite possible that this may be the fact in both cases, but
" Six Grand Concertos, in 7 parts, by Sigr. Giuseppe St
* Dotte] Figlio's Sonatas, op. .4, are advertised on a work published
by C & S. Thompson.
86
Martini, of London, are advertised by John Simpson, at a
time when it does not appear that Oswald was in business,
though there is, of course, a probability that he may have
resided in the neighbourhood of St. Martin's Lane before
opening a shop, and unless St. Martini of London can be
otherwise accounted for, another strong proof of the assump-
tion is that Oswald himself advertises musical works bearing
the name and " Composed for the Temple of Apollo." In a
new edition of the " Comic Tunes in Queen Mab" (which are,
for the first time, ascribed to James Oswald), published by
Randall, there is a note to the effect that " Sometime before
Mr. Oswald's death he had fitted for the press a correct
edition of his works ; as well as those that were known and
acknowledged to be his, as those that were really such, but
had formerly been published under the names of others, for
reasons not difficult to guess. There are many excellent
composers whose circumstances will not permit them to please
themselves," etc., etc.
Oswald dedicated an early work to Frederick, Prince of
Wales, and among the coronation honours he was appointed
in 1 76 1 Chamber Composer to George III. Though holding
the above position, and being possessed of no mean talents,
beyond his publications and his name appearing occasionally
as composer to songs there is little record of him, and bio-
graphies and musical works are silent. It seems likely that
he died in 1769, for in the Gentleman's Magazine, under the
date January 2nd, 1769, there is a death noted "James Oswald,
of Knebworth, Herts." About this date Oswald's premises
were taken over by Straight & Skillern, who re-issued some of
his works — notably the "Caledonian Pocket Companion."
James Oswald has been credited with the composition of
"God Save the King," which, under the name of "Osweld's
Are," is (or formerly was) played by the chimes of Windsor
Parish Church. The bells were put up in 1769, and the
chime barrel had been arranged by Oswald (see R. Clark's
"Account of God Save the King," p. 28). The following are
some of the principal London publications : —
The Caledonian Pocket Companion, in six volumes, contain-
ing all the favourite Scotch Tunes, with their variations for
the German Flute. . . .By James Oswald. . . .London, printed
for the author, and sold at his music shop in St. Martin's
Yard, large 8vo.
This extended to 12 books, the title pages being altered from "Six "
to " Ten," etc. It was afterwards republished by Straight & Skillern,
and one or more of the earlier books had been originally issued by
J. Simpson. The Caledonian Pocket Companion was published at
87
intervals during several years. Book third, apparently only just then
published, is advertised on the Masque of Alfred (performed 1751), and on
Queen Mab (1752). It has been questioned whether the last two books
were published before Oswald's death.
C. 1747. Airs for the Spring, Summer, Autumn, and Winter, by
James Oswald, and sold at his music shop in St. Martin's
Church Yard, 4 parts, folio.
The grant of copyright engraved in the volume is dated 23rd October,
J 747-
Six Pastoral Solos, for a Violin, and Violoncello. .By James
Oswald, same imprint, oblong folio.
A Collection of Scots Tunes, with Variations. .. .Dedicated
to the Earl of Bute, by James Oswald, London, printed for
the author at his music shop on the pavement of St. Martin's
Church Yard, of whom may be had the Caledonian Pocket
Companion, in seven volumes, folio.
Re-published by Bland & Weller, and by J. Bland.
C. 1762-5. A Collection of the best Old Scotch and English Songs,
set for the voice, with accompaniments. .. .for the harpsi-
chord. Dedicated to the Princess Dowager of Wales, by
James Oswald, same imprint, folio.
Ten Favourite Songs, sung by Miss Fortmantel at Ranelagh
... .By J. Oswald, folio (copyright grant dated 1747).
A Second Collection of Curious Scots Tunes, for a Violin
and German Flute.... By James Oswald, London, Chas.
& S. Thompson, folio (a late issue from old plates).
Six Solos for a German Flute or Violin.. By I. R., Esq., a
member of the Temple of Apollo, oblong folio. (Oswald's
imprint, but also republished by Randall.)
C. 1751. The Music in the Masque of Alfred, written by Mr. Mallet. .
Composed by the Society of the Temple of Apollo, folio
(performed 1751). This is not the famous one with the song
Rule Britannia.
C. 1752. The Comic Tunes in Queen Mab, as they are performed at
the Theatre Royal in Drury Lane. . . .By the Society of the
Temple of Apollo, oblong 4to.
(A pantomime acted in 1752, the music of which has been
claimed for Burney, but in a later copy from the same plates
published by Randall, and by Straight & Skillern, James
Oswald's name is set down as composer.)
(1751-2). The Music in Harlequin Ranger, oblong 4to.
(1752). The Comic Tunes in the Genii.
(1753). Ditto in Fortunatus, oblong 4to.
Forty Airs for the Violin, German Flute, or Guittar. . . .per-
formed in the Hessian and Prussian Armies, large 8vo.
If space permitted this list of Oswald's publications could be greatly
extended ; the imprints generally refer to his music shop on the pavement
of St. Martin's Church Yard.
Owen Wm. Published music and had a shop
near Temple Bar, between the two
Temple Gates in 175S and 1771. This shop was probably
the original premises occupied by John Cullen, sixty or seventy
years previously. He published " Divine Melody, in Twenty-
four Choice Hymns... two parts, by Mr. Prelleur...the rest
chiefly by Mr. Moze... London, printed for Wm. Owen, at
Homer's Head, near Temple Bar, 1758," type printed 8vo.
" Pieces for the Harp... by Dr. Worgan, printed for the author
and sold by W. Owen, between the Temple Gates, and at
Smart's Music Shop, corner of Argyll Buildings, Oxford
Street, and at the author's house, Rathbone Place," folio.
" Libro de XII Sonatas. ..D. Scarlatti (edited by Dr. Worgan),
London, printed and sold by Wm. Owen, bookseller and
music printer, between the Temple Gates. "...Copyright grant
dated 1771.
Paine & Hopkins. 69. Cornhill, published popular
sheet songs in 1822 and 1824,
etc. It is possible that the firm was James Paine, a leader
of the dancing at Almack's and composer of a great number of
quadrilles, with a performer on the clarionet named Hopkins,
who played at Covent Garden Theatre.
Pearce & Co. The firm was originally Corri & Pearce.
at 28, Haymarket (see Corri). About
1807-8 the style of the house became as above and they pub-
lished Hook's Opera, "Tekeli" (acted in 1806), besides songs
from " The English Fleet," etc. On No. 3 of a series of
Country Dances in folio, circa 1806-8, they advertise having
bought the whole ot Mr. Bennison's plates and stock-in-trade.
They removed to 70, Dean Street, and later are found at 24,
Panton Street, Haymarket, premises which in 1820 are
occupied by a music seller, named William Kelly, while
Pearce & Co. are probably non-existent. Preston got the plates.
Pearson, William. Was the principal type music
printer during the first thirty-
five years of the eighteenth century. He probably made im-
provements of his own in the "new tied note," first introduced
by J. Heptingstall, and held an undisputed field until his death
or retirement. The earliest date I have found for his printing
is 1699, and the latest 1735. In 1738 a musical work was
printed by A. Pearson, who was probably his son. Pearson's
printing office was, in 1699, next door to the Hare & Feathers,
in Aldersgate Street. In 1700 and onward the address is given
89
as in Red Cross Alley, Jewin Street, though in 1724, one
imprint has " Over against Wright's Coffee House in Alders-
gate Street."
Pearson apparently had few rivals in type music printing,
and printed for the authors and for different publishers.
Some of William Pearson's printed works are : —
1699 Twelve New Songs, with a thorough bass to each song,
figured for the Organ, Harpsichord, or Theorbo, chiefly to
encourage William Pearson's new London character, com-
posed by Dr. Blow, Dr. Turner. . . . 1699, folio.
1699 A New Scotch Song, set by Mr. Daniel Purcell, and sung in
the last revived play called The Taming of the Shrew (begins
" 'Twas in the month of May ").... London, printed by and
for William Pearson, next door to the Hare and Feathers,
in Aldersgate Street, and sold at most musick shops in
town, 1699, half sheet song (British Museum).
1700 A Collection of Original Scotch Tunes. . . . Printed for Henry
Playford ; two editions in oblong 4to, 1700 and 1701.
1700 Dr. Blow's Amphion Angelicus. 1700, folio.
1701 A Collection of New Songs.. by Vaughan Richardson,
London, printed by William Pearson, for the author, and
sold by Mr. Playford. .Mr. Hare, at the Golden Viol, in St.
Paul's Church Yard, and at his shop in Freeman's Yard,
1 70 1, folio (Taphouse).
1 701 Motley's Ayres in three parts, 1701, oblong 4to.
Henry Playford's Pleasant Musical Companion, and a second
book of ditto, several editions, 1701-1720.
The later editions of the Dancing Master, first, second, and
third volumes, and of D'Urfey's Wit and Mirth.
Several editions of Playford's Introduction to the Skill of
Music, from 1700 to 1730.
1703 A Choice Collection of Italian Ayres.... By John Abell,
1703 ( Taphouse).
Harmonia Sacra, Henry Playford, 1703 and 1714, folio.
C 1705 The Complete Dancing Master's Companion, containing the
Marlborough, Mr. Isaack's new dance. .. .danced at Court
on her Majesty's birthday, 1705 ; the third book, London,
printed by William Pearson, and sold by John Cullen, and
Humfrey Saulter, at the Lute, in St. Paul's Church Yard,
oblong 8vo (Taphouse)-.
1714 Simpson's Compendium of Practical Music, several editions,
1714-1732, etc.
1719 Playford's Whole Book of Psalms, 1719, etc.
1724 Sound Anatomised. .By Wm. Turner, London, printed by
William Pearson, over against Wright's Coffee House, in
Aldersgate Street, for the author, 1724.
90
1727 The Psalm Singer's Choice Companion Robert Barber,
London, printed by W.P., 1727, 8vo.
1731 Holder's Treatise on Harmony, 1731, 8vo.
1731 Another Treatise on Harmony, 1 731, oblong 410, published
anonymously, supposed to be by Dr. Pepusch.
1731 Psalmody Epitomized By Ely Stansfield, 1731, Svo.
1735 Tansur's Compleat Melody, or the Harmony of Sion, 1735,
oblong 4to.
1 have seen no publication printed by William Pearson
later than the last in the above list ; his printing house was
probably continued by his son, for Tansur's " Heaven upon
Earth, or the beauty of Holiness," is printed by " A. Pearson
for S. Birt, at the Bible and Ball, 1738," 8vo.
Peck, James. 47? Lombard Street, principally pub-
lished engraved sacred music. He
was at this address in 1807 an d remained here in 1824. He
published a copy of the " Messiah" in oblong 4to, dated 181 3 ;
two "Sets of Sacred Music, by Jno. Fawcett," oblong 4to,
with many others in similar form and character.
Phillips, John & Sarah. These two, husband and
wife, engraved musical
works at the middle of the eighteenth century. The follow-
ing is Sir John Hawkins' account of them, "But the last and
greatest improver of the art of stamping music in England was
one Phillips, a welchman, who might be said to have stolen it
from one Fortier, a Frenchman, and a watchmaker, who
stamped some of the parts of Martini's first opera of Concertos
and a few other songs. This man Phillips, by repeated
assays, arrived at the method of making types of all the
characters used in music ; with these he stamped music on
pewter plates, and taught the whole art to his wife and son.
In other respects he improved the practice of stamping to so
great a degree that music is scarce anywhere so well printed
as in England." Hawkins is perfectly right regarding the
excellent results attained by Phillips. He at one time had a
music shop in St. Martin's Court, St. Martin's Lane, and, like
Thomas Cross, sold the music he engraved.
The earliest work that I can identify of his is " The Art
of Playing the Violin," by F. Geminiani, dated 1751. For
Dr. Arne he engraved the opera " Thomas and Sally," folio,
sold by the author, and dated 1761 — "J. Phillips, Sculpt." —
and about the same date (published by Johnson, of Cheapside)
"Twelve Songs, set to music by William Jackson, of Exeter,"
folio. Another work is Dunn's " Six English Songs and a
91
Cantata printed for the author at the Turk's Head
facing Staples Inn, and at Mr. Phillips' Music Shop, in
St. Martin's Court, St. Martin's Lane," and a sheet song
by Dr. Arne is "printed and sold by J. Phillips, in St.
Martin's Court." John Phillips' name is on Warren's first
" Collection of Catches and Glees, - ' dated 1763, oblong folio;
on page 31 of this is S. Phillips, Sculp. J. Phillips engraved
for Oswald "A Collection of the best old Scotch and English
Songs," and a half sheet song "printed by J. Oswald" has
"Sarah Phillips, Sculp."
I have not been able to ascertain when the Phillips
family ceased working.
Phillips & Mayhew. *7> 9 ld Bond Street, were
music sellers to the Duke
and Duchess of Kent, 1818-1820 ; published sheet songs, and
were in business here till 1822, when the firm became May-
hew & Co.* (See Mayhew.)
PhipDS & Co. The head of this firm was possibly the
Phipps who was partner in the house
of Goulding, Phipps & D'Almaine, and who retired from it
about 1808-9. Phipps & Co. were music sellers at 25, Duke
Street, Grosvenor Square, in 1811 till 1819, when, becoming
Phipps & Holloway, they remove to 95, New Bond Street.
In 1821 they are at 5, Hanway Street, and in 1822 the name
is T. Holloway. (See Holloway.) Besides sheet music
Phipps & Holloway issued a series of small volumes entitled
" Philomel," consisting of airs for the patent double
Flageolet, arranged by John Parry. This is in oblong i6mo
and the first eight numbers have the imprint " Phipps & Co.,
25, Duke Street," while the latter ones up to 16 are published
by "Bland & Weller." No. 17 is issued by C. Wheatstone ;
it is evidently a work owned by the editor.
Pippard, L. A music publisher at the sign of the
"Orpheus" in Russell Street, Covent
Garden, during the early years of the eighteenth century. In
the British Museum there is a quaint and rudely engraved
book of Country Dances, dated 171 1, having his imprint ; it
bears this title: "A Hundred and Twenty Country Dances for
the Flute ; being a choice collection of the pleasant and most
airy tunes out of all the dance books, both old and new... The
whole fairly engraven 171 1, London, printed for and engraved
by L. Pippard, at ye sign of Orpheus, opposite to Tim's
coffee house, in Russell Street, Covent Garden, where are new
* In 1802 a Wm Phillips was a musical instrument maker on Tower
Hill, and the directories for 1811-12 mention him as a pianoforte maker
there.
92
books of tunes with instructions for learning on all instruments,
with new Sonatas and Solos, and new Songs of all sorts,"
oblong 4to, p.p. 30, 118 dances. I find a work bearing the
same title with the imprint "London, for Danl. Wright," in a
modern bookseller's catalogue, priced, for some fortunate
collector, at half-a-crown. It is possible D. Wright may have
re-issued the work, or copied it, or that his engraved slip
pasted over the original imprint has been transcribed by the
bookseller.
Another work published by L. Pippard, also in 171 1, is
"The Violin Master Improved, the third book," same imprint,
dated 1711, oblong, it was "sold by Mrs. Miller on London
Bridge, and I. Young, in St. Paul's Church Yard." (See Sir
J. Stainers Catalogue of Song Booh.)
PlattS, T. He was probably a son or otherwise
related to Martin Platts, a dancing master.
J. Platts opened a music shop and published music at 83,
Berwick Street, Soho, about 1805. This includes "Platts'
Collection of original and popular Dances, arranged for the
pianoforte, violin, &c Printed and sold by J. Platts, at his
magazine for harp music, No. 83, Berwick Street, Oxford
Street," folio ; reaching to at least 34 numbers. Other music
is advertised on these numbers. In 1822 and 1824
J. Platts was publishing French songs and harp music from
g, John's Street, Oxford Street (advertisement), and he was still
in business in 1838.
Playford, John. O ne of the most important figures
in English musical history during
the latter half of the seventeenth century. He is said to have
been born in 1623, and to have died in 1693 or I &94- The
first notice that seems to occur of him is in 1648, when his
name is mentioned as entering books in the register of the
Stationers' Company ; these, however, were not musical works,
(see Chappell's " Popular Music," p. 423.) He was then a
bookseller, having a shop in the Inner Temple and near the
church door, but never appears, as has been loosely stated by
Hawkins and others, to have been a printer, though his son, of
the same Christian name assuredly was. Playford's first
musical publication probably was " The English Dancing
Master, or Plaine and Easie rules for the dancing of Country
Dances, with the tunes to each," and this is absolutely not only
the first English work on the subject, but the first general collec-
tion of the popular dance and ballad tunes of England. It is
dated 1651, but the work Avas entered in Stationers' Hall on
93
November 7th, 1650. In 1652 its title was changed to " The
Dancing Master," and its eighteen editions, with second, and
with a third volume, ranged downward to the year 1728,
forming an invaluable record of English popular melody.
From the first publication of the "Dancing Master," Play-
ford (with one or two exceptions) issued none but musical
works and his intimacy with the principal musicians of his
period seems to have been complete, and of a most kindly
character ; indeed he must have been held in the greatest
esteem. Whether from this intimacy or from the fairness ot
his dealing he held the monopoly of the music publishing
trade (which was then freed from the vexatious patent rights),
except for a few psalters and musical treatises.
John Playford was musician enough to write an excellent
little work on music, which held the field for nearly eighty
years — 1654 to 1730; he also edited a Psalmody collection,
and was the composer of many of the tunes therein. In
addition to his music business he was parish clerk to the
Temple Church, while his wife kept a boarding school at Isling-
ton "Over against the Church where young gentlewomen might
be instructed in all manner of curious work, as also reading,
writing, musick, dancing, and the French tongue." This is
advertised at the end of " Select Ayres and Dialogues, 1659,"
and twenty years after, the lease of the premises is advertised
for sale in newspapers of 1680 and 1681, to this effect : — " In
the High Street, over against the Church in Islington is to be
let a fair house, containing above 20 rooms, one whereof is 45
feet long, with outhouse for a wash house, coach house, with
a convenient court yard before the said house, and behind it a
fair garden, opening into the best fields for air about the town;
also two pleasant summer houses in the said garden. The
person who will let the house has 16 years to come in his
lease, which he is willing to dispose of for a moderate fine,
without any rent or otherwise by the year, for an easy rent
(under ,£20 per annum), without any fine. Notwithstanding
he has laid out in improving the premises above ^400.
Enquire at Mr. Playford's shop near the Temple Church, or
at Mr. John Hall's, a goldsmith, and near the Nag's Head
Tavern, in Leadenhall Street, or at the said Mr. Hall's country
house over against Islington Church aforesaid." — Smith's
Protestant Intelligencer, April 7th, 1681.
While keeping his shop near the Temple, Playford must
have lived with his wife in the house above advertised, and
here he had two sons born, John and Henry. The dates of their
94
birth are given in Grove's Dictionary as Henry, 1657, John,
1665. As in 1679 J. Playford, junior, is advertised to have
commenced in partnership with another as a master printer
(which he could not have done had he been only fourteen years
of age), the date is more likely to have been 1655, and his
Christian name John points to him being most likely the elder
son. Henry's birth is fixed at 1657, and he continued the
business founded by his father, whilst John, having been
apprenticed to a printer and become a master, died in 1686.
Henry is supposed to have died about 1706 or later.
John Playford, the father, was, for a short time only, in
partnership with Zach Watkins at the shop in the Temple.
This was in 1664-5, but soon after this he was alone and
retained the shop in the Temple till his death. There are
many quaint notices and advertisements scattered through
Playford's publications ; one runs thus : — on Select Ayres and
Dialogues, 1669, "At Mr. Playford's shop is sold all sorts of
ruled paper for musick and books of all sizes ready bound for
musick. Also the excellent cordial called the Elixir Pro-
prietatis, a few drops of which drank in a glass of sack or
other liquors is admirable for all coughs, consumption of the
lungs, and inward distempers of the body ; a book of the
manner of taking it is given also to those who buy the same.
Also if a person desires to be furnished with good new
Virginals, and Harpsicons, if they send to Mr. Playford's shop
they may be furnished at reasonable rates to their content."
Samuel Pepys, as might have been expected, was on
intimate terms with Playford, and in the valuable new edition
of Pepys' Diary, edited by Mr. William B. Wheatley — valu-
able for containing so much interesting matter relating to
Pepys' musical life, omitted in the old edition — there are
several entries relating to him. For instance, on November
22nd, 1662, — " bought the book of Country Dances against
my wife's woman Gosnell comes, who dances finely, and there
meeting Mr. Playford he did give me his Latin songs of Mr.
Dering's, which he had lately printed." On May 23rd, 1663
he took his " Lyra Viall book bound up with blank paper for
new lessons." On November 23rd, 1666, " at The Temple I
called at Playford's and there find that his new impression of
his ketches (catch book) are not yet out, the fire having"
hindered it, but his man tells me that it will be a very fine
piece, and many things new being added it." This is an
allusion to a late edition of Hilton's " Catch that Catch can,"
which, published in 1667, became the first edition of " The
95
Musical Companion." An entry dated April 15th, 1667, shows
that Pepys had bought the book and " found a great many new
fooleries in it," three days after he " tried two or three grace
parts in Play ford's new book, my wife pleasing me in singing
her part of the things she knew, which is a comfort to my
very heart."
In 1684 Playford bids farewell to the public in the follow-
ing notice in the fifth book of " Choice Ayres and Songs,"
" To all lovers and understanders of musick ; gentlemen, this
fifth book of new songs and ayres had come sooner (by three
months) to your hands, but the late frost put an embargo
upon the Press for more than ten weeks, and to say the truth
there was a great unwillingness in me to undertake the pain of
publishing any more of this nature. But at the request of
friends, and especially Mr. Carr, who assisted me in procuring
some of these songs from the authors, I was prevailed with...
My pains and care has ever been not only to procure perfect
copies, but also to see them true and well printed. But now
I find my age and the infirmities of Nature will not allow me
the strength to undergo my former labours again. I shall leave
it to two young men, my own son and Mr. Carr's son, w r ho is
one of his Majesty's Musick and an ingenious person whom
you may rely upon, that what they publish of this nature,
shall be carefully corrected and well done, myself engaging to
be assisting to them in the overseeing the press for the future,
that what songs they make public be good and true musick,
both for the credit of the authors and to the content and satis-
faction of the buyers, which that they may never be otherwise
is the desire, of, gentlemen, your most faithful servant, John
Playford." Accordingly after 1685, Henry Playford's name
stands in place of his father's on all or most of the Playford
publications. Whatever political opinions John Playford held
or displayed during the commonwealth, he was like Lawes
and other of his contempory musicians a strong royalist after
the Restoration ; there is sufficient evidence in his publications
for this assumption.
As before stated, the elder Playford's name is never
appended to his publications as printer. His earliest books
were printed by Thomas Harper, who had printed music in a
Psalm book as early as 1633, though not at that time for
Playford. Harper was printing for him in 1653, but in 1658
William Godbid was so employed, and it is probable that the
younger John Playford was apprenticed with him. Godbid
seems to be the sole printer for Playford up to 1679, when, as
96
A. Godbid and the younger Playford took over the Godbid
printing house in Little Britain, perhaps owing to the death of
William, the business naturally fell upon the firm. After the
death of the younger Playford in 1686, Edward Jones in the
Savoy did the work, followed by J. Heptingstall, and lastly
by William Pearson.
The great bulk of John Playford's work is printed from
moveable type, the exception being, in his earlier years, one or
two reprinted from copper plates engraven prior to his time,
as Dr. Child's '• Psalms for three voices," printed originally in
1630, and probably Orlando Gibbon's three part "Fantasies."
which Playford advertises in 1653 as engraven upon copper.
The other exception to Playford's type printed music are
his delicately engraven volumes in small oblong as " Musick's
Handmaid," 1678, "The Division Violin," 1685, etc. His
books have frequently frontispieces, etched and engraved, and
in the best style of art ; among them those for his smaller
volumes of instructions for different instruments are particu-
larly quaint and charming. Wm. Hollar etched a vignette
for the title page of the Dancing Master. John Playford died
in 1693-4, leaving his son Henry to continue the business which
he had already taken over. There are five engraved portraits
of the elder Playford, taken at different periods of his life ;
these are prefixed to certain editions of his " Introduction to
the Skill of Music," an excellent work of which he was the
author. The editions of Playford's publications are so
numerous, and many so seldom seen (not to mention others
which have totally disappeared), that the compilation of a fairly
full bibliography is by no means an easy task. The following,
arranged from actual copies and from Playford's own advertise-
ments, makes no pretence of completeness.
1650. The English Dancing Master, or Plaine and Easie rules for
the dancing of Country Dances, with the tunes to each
dance, printed by Thomas Harper, and are to be sold by
John Playford at his shop in the Inner Temple, neere the
Church doore, 1651, (entered at Stationers' Hall November
7th, 1650. 104 dances), oblong 4to
1652 The Dancing Master, or plaine and easie rules, etc. The
Second edition enlarged and corrected from many grosse
errors. .. .printed for John Playford at his shop in the
Inner Temple, 1652 (112 dances), small oblong.
1657. Ditto, containing 132 new and choice country dances In
which is added 42 French corants and other tunes to be plaid
on the treble violin, printed in 1657, (advertised in 1669 : a
copy at Cambridge).
97
1665. Ditto, printed by W.G., and are to be sold by J. Playford
& Z. Watkins, at their shop in the Temple, 1665, (132 dances
and 85 French and other tunes).
1670 Ditto, 4th edition, 155 tunes, 1670 ; 5th edition, 160 tunes,
to 1675; 6th, printed by A.G..&J.P. 1679, 182 tunes; 7th, 1686;
1698 8th, printed by E. Jones, 220 tunes, 1690; 9th, 1695; the
Second Part of the Dancing Master, p.p. 24, 1696, an
additional sheet of new dances for the second part, p.p. 25 to
32 ; the Second Part of the Dancing Master, 2nd edition,
with additions, 1698 (this has several additional sheets).
1698 The Dancing Master, 10th edition, p.p. 215, 1698; nth
to edition, p.p. 312, 1701 ; 12th, p.p. 354, 1703; 13th, containing
circa 360 dances (advertised in 1707) ; 14th, 171 1 ; 15th, 1713 ; i6th,
1725 printed by W. Pearson, and sold by John Young, 1716; 17th,
identical with the above, 1721 ; 18th, volume the first not
daied, circa 1725, p.p. 358, identical with the 16th edition.
This is the last edition of the first volume.
The Dancing Master — second volume, was probably first published
about 1713 to form an additional volume to the fifteenth edition. The
second edition of the second volume was published in 1718; third edition
1719, and fourth edition, which like the third contained 360 dances, and
is identical with it, is dated 1728. A third volume not dated has the title
*' The Dancing Master, or directions for dancing Country Dances, with
the tunes to each dance for the treble violin ; the Third Volume, con-
taining two hundred dances, London, printed by William Pearson, and
sold by John Young," p.p. 200, small oblong, circa 1728.
C 1650. The First set of Psalms for 3 voyces....by William Child,
engraven on copper, advertised by Playford in 1653, and
again by him in 1669, as having been printed in 1656. 4
books in all were published. Chappell says the work was
reprinted in 1650 from the original plates of 1630.
165 1 . Musick and Mirth, presented in a choice collection of Rounds
and Catches, for 3 voices, (given by Chappell as being unique,
in the Douce Collection, in the Bodleian library.)
C 1650-1 Orlando Gibbons' three part Fantazies, for 2 trebles and a
basse, engraven upon copper ; advertised in 1653, and is
probably from earlier plates.
Orlando Gibbons' 5 parts for Viols and Voices, and Orlando
Gibbons' Madrigals ; both advertised in 1669.
Mr. Wilby's Madrigals of 3, 4, 5, and 6 voyces ; advertised
in 1669.
Dr. Champion's Ayres for 1, 2, and 3 voyces, [Campion] ;
advertised in 1669.
C 1650-1 Mr. Michael East's Seven sets of Fantazes, for the Viols of
2, 3, and 4 parts (reprinted from the early edition of 1638) ;
advertised in 1653.
1651 A Musical Banquet, in three books, consisting of Lessons for
the Lyra Viol ; Allmans, and Sarabands, Choice Catches
and Rounds, etc. Douce collection, Chappell, p. 423.
98
1652 A Banquet of Musick, set forth in three several varieties of
musick; first, Lessons for the Lyra Viol, the second, Ayresand
Jiggs for the Violin, the third, Rounds and Catches, all of
which are fitted to the capacity of young practitioners
(advertised in 1655. Chappell mentions, p. 483, a unique
copy in the Douce Collection. Henry Play ford published
in 1688 another work under same title).
C 1652 A Book of new lessons for the Cithren and Gittern, advertised
in 1653. In another place Playford gives an announce-
ment of it as having been printed in 1659. Query : —
Whether it is an early edition of Musick's Delight on the
Cithren, 1666, and whether both are the same as Musick's
Solace on the Cithren and Gittern, advertised in 1664, 1665,
1669, and in 1672 as being newly reprinted.
1652 Select Musicall Ayres and Dialogues for 1 and 2 voyces to
sing to the Theorbo Lute, or Basse Violl. .by John Wilson,
Charles Coleman, Henry Lawes, Wm. Webb, and the Second
Book of Ayres, for 2 voyces, to sing either to the Theorbo
Harpsicon or Basse Violl, folio, 1652.
Ditto, :'n three books, 1653 ; another edition 1659. After-
wards the last edition, by mere alteration of title page,
became the first book of the Treasury of Music, 1669.
1652 Musick's Recreation on the Lyra Viol, 1652; another edition
1656 and constantly advertised till 1690 ; there must have
been many editions. In 1672 Music's Recreation on the Viol,
Lyra ways, is advertised as newly reprinted with large
additions.
1652 Catch that Catch Can, or a choice collection of Catches and
Rounds.. ..John Hilton, printed for John Benson and John
Playford, and are to be sould in St. Dunstan's Church Yard,
and in the Inner Temple, 1652, small oblong.
(Advertised in 1669 as a book of Catches, collected and pub-
lished by J. Hilton in 1651, and now with large additions by
J. P. newly re-printed 1658.) Another edition in 1663, and an
edition, with the subtitle The Musical Companion, .to
which is added a 2nd book, was published in 1667 in oblong
4to. Another edition was Catch that Catch Can, or the 2nd
part of the Musical Companion, 1685, oblong 4to.
1653 Ayres and Dialogues for one, two, and three voyces by
Henry Lawes. . . .the first booke, London, printed by T. H.
for John Playford, 1653, folio, portrait on title ; 2nd book
l6 55 ! 3 r d book 1658, the third book is advertised in 1669 as
having been printed in 1658. Another edition of the whole
work bears the date 1669.
1655 An Introduction to the Skill of Music, in two books ; first a
brief and plain introduction to musick, both for singing and
for playing on the Violl, by J. P. ; second, the Art of setting
or composing musick in parts. . . .formerly published by Dr.
Tho. Campion, but now republished by Mr. Christopher
Sympson .. Small 8vo, 1655.
99
A unique copy is said to be dated 1654, The second edition is dated
1658, and this and all later ones have the title "A Brief Introduction to
the Skill of Music." The third edition is dated 1660 ; another, unnumbered,
1662 ; 4th, 1664 ; others, 1666, 1667, and 1670 ; 6th, 1672 ; 7th, 1674 ; 8th,
1679; (no trace of a gth edition); 10th, 1683; nth, 1687; 12th, 1694;
13th, 1697; I 4 t h, 1700; 15th, 1703; 16th, 1713 ; 17th, 1718 ; 18th, 1724;
19th, 1730. This last is the end of the series. Dr. Campion's Art of
Descant, given as a second part to the work, was also published separately ;
it has a title page of its own and is sometimes dated a year earlier than
the edition of the Introduction in which it is included.
1655 Court Ayres, or Pavins, Almaines, Corants, and Sarabands,
treble and basse, for viols or violins. Chappell, p. 425, gives
this date ; Playford advertises it as having been printed in
1656; it was afterwards reprinted in 1662 as Courtly
Masquing Ayres, in two parts, and is so advertised in 1664
and 1665, while as Court Ayres it is announced as late as
1672.
1655 The Art of Setting or Composing of Musick, in parts; Dr.
Campion's 2nd edition, with large annotations thereon, by Mr.
Christopher Sympson, 1655, small 8vo. This was afterwards
entitled The Art of Descant, and included in every edition
of Playford's Introduction to the Skill of Musick.
1659 The Division Violist, or an introduction to playing upon a
ground, by Christopher Simpson, 1659, folio ; a second
edition is dated 1667, and a third, 1712.
1661 The Pleasant Companion, or New Lessons for the Flagelet,
to by Thomas Greeting, small oblong. The following dates
1688 have been given for various editions, 1661-66-72-75-80-82-83
and 1688 ; it was frequently advertised by Playford.
1656 Mr. Matthew Locke, his Little Consort, of three parts,
containing Pavans, Ayres, Corants, and Sarabands, for Viols
and Violins, .oblong 4to, 1656 (advertised by Playford as
having been printed in 1657, re-advertised in 1670 and 1672).
Another edition dated 1686.
1657 Ayres and Dialogues to be sung to the Theorbo-lute or
Basse Viol, by John Gamble, folio, 1657 ; second book, 1659.
1657 Mottets of Two Voyces, for treble or tenor.... to be per-
formed to an Organ, Harpsycon, Lute, or Bass Viol, 1657,
folio ; a second set was published before 1669.
Mr. Henry and Mr. William Lawes, Psalms for 3 voyces, in
4 books, 4to, advertised in 1669, etc. (a re-print, no doubt,
of the edition of 1648).
A Book of Divine Hymns and Dialogues, for one and two
voyces, to sing to the Theorbo-lute or Organ, by Mr. Henry
Lawes and others.
Apollo's Banquet, containing instructions and a variety of
new tunes for the treble violin ; small oblong. This originally
formed the appendix to the Dancing Master of 1665. In 1669
it was advertised as a book for the treble violin, now fitted
for the press. Under its proper title it was advertised in
1672, etc. The 6th edition is dated 1690 ; the 7th is adver-
tised in 1700, and the gth in 1720.
100
i666 Musick's Delight on the Cithren, restored to a more easie
and pleasant manner of playing than formerly . . 1666, small
oblong. (At both later and earlier dates a book is advertised
under the title, Musick's Solace on the Cithren and Gittern,
this may be the same, or a different work. A New Book of
Lessons, with instructions for the Cithren and Gittern, is
advertised as early as 1653).
Mr. Will Young, his Fantazies for the Viols, advertised in
1669.
Dr. J. Wilson's Ayres and Ballads for 3 voyces, lately
printed at Oxford, advertised in 1669 and 1670.
1667 Catch that Catch Can, or the Musical Companion, contain-
ing catches and rounds for 3 and 4 voyces, to which is added
a second book containing dialogues, glees, ayres, and ballads,
1667, oblong 4to. .1911'/ ? r ' r "
This may be considered an extended edition of Hilton's Catch that
Catch Can, 1652 ; it became the first edition of The Musical Companion.
Pepys mentions that its publication was delayed by the great fire and
that he bought it on April 15th, 1667, and found a great many new
fooleries in it.
1672-73 The Musical Companion in two books, the first book contain-
ing Catches and Rounds for 3 voyces, the second book con-
taining Dialogues, Glees, Ayres, and Songs, oblong 4to, the
first title page dated 1673, the second 1672 (a second edition
of the above).
1685 Catch that Catch Can, or the Second part of the Musical
Companion, 1685, oblong 4to,
1686 The Second book of the Pleasant Musical Companion, oblong
4to, 1686. A copy in the British Museum with an autograph
of Playford, dated October, 1685.
Ditto, 4th edition, dated 1701 ; a supplement dated 1702.
The Pleasant Musical Companion, oblong 4to, 6th edition
dated 1720; 9th edition dated 1726; 10th edition, 1730.
1669 The Treasury of Musick, containing Ayres and Dialogues to
sing to the Theorbo-lute and Basse Viol, composed by Mr.
Henry Lawes, late servant to his Majesty in his public and
private musick ; in three books, London, printed by Wm.
Godbid for John Playford, and are to be sold at his shop in
the Temple, near the church dore, 1669, folio.
The second and third books are titled Select Ayres and Dialogues,
and all are dated 1669. The whole of the work is practically a re-issue of
Playford's earlier publications. Frontispiece of a lady playing lute.
1671 Psalms and Hymns in Solemn Musick of four parts, 1671,
folio. Ditto, 1673.
The Whole book of Psalms, with the usual Hymns and
Spiritual Songs, by John Playford, octavo.
This ran through at least twenty editions. It is advertised in 1679
and in 1685 ; the 3rd edition is dated 1697; tne 6th is advertised in 1700;
the 7th in 1703; the 15th is dated 1719; and the 20th was published in
1757-
101
1673 Choice Songs and Ayres, for one voice to sing to a Theorbo-
lute or Bass Viol, composed by several gentlemen of his
Majesty's Music, 1st book printed by W. G. for John Playford
and John Ford, 1673, folio.
1674 Cantica Sacra, containing Hymns and Anthems, for the
voices to the organ, both Latine and English, composed by
Mr. Richard Dering, etc., first and second setts, folio, 1674.
Pepys, under the date November 22nd, 1662, mentions that " Mr.
Playford did give him the Latin songs of Mr. Dering, which he lately
printed." The first set in 4 books, folio, is advertised in 1664; the 2nd
set in 3 books in 1674 and later.
1676 A Paraphrase upon the Psalms of David, by G.S., set to
new tunes by Henry Lawes, 1676, 8vo.
1676 Choice Ayres and Songs, to sing to the Theorbo-lute or Bass
to Viol, folio, 5 books, the first dated 1676, the fifth 1684. There
1684 are earlier editions of the first book, one of which is adver-
tised in 1669 and in 1674. In the last book John Playford
bids farewell to the public.
1678 Musick's Handmaid, New Lessons and Instructions for the
etc. Virginals or Harpsychord, 1678, oblong 4to, music engraved.
An edition advertised in 1666 and 1669 ; in 1673 as newly re-
printed, and again in 1684 as newly reprinted with additions ;
in 1685-88-90-95 as in two books or parts.
1683 Sonnatas of III Parts for two Violins and a Basse, or the
Organ and Harpsichord, composed by Henry Purcell for
the author, and sold by I. Playford and I. Carr, at the
Temple, Fleet Street, 1683. Thos. Cross, junior, Sculp.
4to, 4 parts.
The Delightful Companion, a new book of lessons and
instructions for the Recorder and Flute (advertised in 1684,
1685 and 1688).
1684 A Musical Entertainment, performed on November XXII,
1683, it being the festival of St. Cecilia London, printed
by J. Playford, junior, and are to be sold by John Playford,
near the Temple Church, and John Carr, at the Middle
Temple Gate, 1684, 4to.
1685 Ditto, on November XXII, 1684, printed by John Playford,
and are to be sold by John Carr, T685, 4to.
1685 The Division Violin, containing a collection of divisions
upon several grounds for the treble violin, being the first
musick of the kind made publick ; 2nd edition much enlarged,
printed on copper plates, 1685, oblong 4to. (The 1st edition
advertised in 1684 ; and in 1695, as in 2 books; in 1700 as
the 4th edition in 2 books ; the 5th edition is dated 1701.
Note. — All the editions of Playford's publications after 1686 have
Henry Playford's imprint, and after 1704, that of William Pearson, and
are sold by John Young.
Playford, John, Junr. The elder son of the senior
Playford, who was probably-
born at Islington about 1655. He seems to have been
apprenticed to a printer, most likely to William Godbid, with
102
whose son he commenced in business in Little Britain about
the year 1679. (See Godbid in the present volume.)
A. Godbid and John Playford, junior, print together many
musical works for the elder Playford, as well as other
literature. Sometime after 1682 Godbid's name is absent and
John Playford alone prints musical works for his father and
brother, as "Choice Ayres and Songs," 5th book, 1684, folio,
" The Theater of Music," 1st book, 1685, folio, "The Dancing
Master," 7th edition, 1686, also for Joseph Hindmarsh "A
Third Collection of New Songs, never before printed, to words
by Mr. D'Urfey," 1685, folio.
Young Playford died in 1686, and the London Gazette, of
the 6th of May in that year is said to contain an advertise-
ment for the sale of his printing house and plant.
Playford, Henry. The second son of John Playford,
senior, born about 1657. He
succeeded his father as music publisher and even before his
father's retirement his name occurs on the imprint of a song
book, " Wit and Mirth, an Antidote against Melancholy, 3rd
edition, London, printed by A. G. and J. P., and sold by
Henry Playford, near the Temple Church, 1682," 8vo (no
music) ; this was the forerunner of the later " Wit and Mirth,
or Pills to Purge Melancholy."
John Playford, the father, in the fifth book of " Choice
Ayres and Songs," 1684, tells the public that he is leaving his
labours to " two young men, my own son, and Mr. Carr's
son," and most of the Playford publications after this date
bear the imprint of Henry Playford. He continued the pub-
lishing of new editions and also issued many entirely new
works. As one or two of his imprints prove, he had his house
in Aiundel Street, Strand, "over against the Blew Ball";
another is : " over against the George." It is likely that he
died about 1706, though one authority gives 1710. As proved
by an autograph letter he was alive in July, 1703. His stock-
in-trade seems at first to have gone to John Cullen, who, in
1707, on Keller's "Thorough Bass," advertises a number of
his works — " Harmonia Sacra," "Dancing Master," 13th
edition, "Apollo's Banquet," "Original Scotch Tunes," "A
Collection of Lancashire Hornpipes," " Wit and Mirth," etc.
Later than Cullen, William Pearson and John Young continue
some of Playford's editions.
Most of Henry Playford's publications, like those of his
father's, were printed from type, but there are also some from
103
engraved copper plates, including many single half-sheet
songs. His new editions will be found included under his
father's name. Some others are : —
1682 Wit and Mirth, an Antidote against Melancholy, 3rd
edition, 1682, 8vo (no music).
1685 The Theater of Music, or a choice collection of the newest
and best songs sung at Court and Public Theaters, 4 books,
the first book 1685, the fourth book 1687, folio.
1688 Harmonia Sacra, or Divine Hymns and Dialogues. .. .com-
posed by the best masters of the last and present age. In
the Savoy, printed by Edward Jones for Henry Playford, at
his shop near the Temple Church, folio, 1688. Second
book, 1G93.
Ditto, 2nd edition, 1703; 3rd edition, 1714.
1688 The Banquet of Music, or a collection of the newest and
best songs sung at Court and at Public Theatres, with a
thorough bass for the Theorbo-lute, Bass Viol, etc, G books,
1G88-1692, folio.
1G95 The Sprightly Companion, being a collection of the best
foreign marches now played in all the camps (advertised in
1695)
1G95 Delicise Musicae, being a collection of the newest and best
songs sung at Court and at the public theatres J. Heptin-
stall, for Henry Playford, near the Temple Church, or at his
house over against the Blew Ball in Arundel Street, first and
second books, 1695, third and fourth, 1G9G, folio (6 books
altogether).
A Choice Collection of Lessons for the Harpsichord or
Spinnet, composed by ye late Mr. Henry Purcell. . . .printed
on copper plates for Mrs. Frances Purcell, executrix of the
author, and are to be sold by Henry Playford, at his shop in
the Temple, oblong.
1697 A. Collection of Ayres, composed for the theatre, and upon
other occasions, by the late Mr. Henry Purcell, printed by
J. Heptinstall, 1697.
1G97 Te Deum and Jubilate for voices and instruments, made for
St. Caecila's Day, 1694, by the late Mr. Henry Purcell, 1697,
folio.
1698 The A'la Mode Musician, being a new collection of songs,
1G98, folio.
1G98-1702 Orpheus Britannicus, a collection of all the choicest songs,
for one, two, and three voices, composed by Mr. Henry
Purcell. .. .2 vols., 1G98-1702, folio.
Ditto, 2nd edition, 170G-1711.
1699 The whole volume of the monthly collection entitled
Mercurius Musicus (for the year 1G99). Composed for the
theatres and other occasions, oblong 410, 1699. Ditto 1700
and 1 701.
104
1699-1700 Wit and Mirth, or Pills to Purge Melancholy, 1699, second
part, 1700, 8vo. Later volumes and editions of this work are
dated 1707-9-12-14-19-20 ; it ultimately extended to six
volumes.
The Psalmody, being plain and easie directions to play the
Psalm tunes by letters instead of notes, fitted to all capaci-
ties ; invented by the late Mr. John Playford, but never
before made public ; the price of the instrument, 15s., the
price of the book, 1/6. Advertised in 1700.
1700 A Collection of Original Scotch Tunes (full of The Highland
Humours), for the Violin, London, printed by William
Pearson, in Red Cross Alley, in Jewin Street, for Henry
Playford, at his shop in the Temple Change, Fleet Street,
1700, oblong 4to; 2nd edition, with additions, dated 1701.
The New Treasury of Music, in folio, advertised in 1701.
The Divine Companion, advertised in 1701.
Single Songs in the opera of Brutus of Alba, or Augustus,
his triumph, set by Mr. Dan Purcell, advertised in 1701.
1 70 1 A Collection of Ayres, in 3 parts, by Richard Motley,
Dancing Master, oblong 4to, 1701.
Dr. Blow's Choice Collection of Lessons for the Harpsichord
and Spinnet, engraven, advertised in 1701.
An Ode on the death of that late excellent master, Henry
Purcell, by John Dryden, composed by Dr. Blow, advertised
in 1701.
1702 The Lady's Banquet, being a choice collection of the newest
and most airy lessons for the Harpsichord, continued
annually, for the year 1702 (advertised in 1703).
Portal, Ab. 163, Strand, opposite the New Church.
He was a music publisher for a short
time, near the years 1775 to 1780. He published sheet and
half sheet songs, one of which was sung in " The Liverpool
Prize," acted 1779, and another in a pantomime of the same
year. He published also folio collections of songs including
" Ranelagh Songs, 1780, sung by Miss Morris, and composed
by Michael Arne," folio, and " The Paphian Doves, a new
book of Kisses, set for the harpsichord by different
ingenious masters," folio. Many of his sheet songs merely
have A. P. stamped on the plate, others give his imprint,
Ab. Portal, 163, Strand, opposite the new Church.
Power, Tames. An Irishman, born in Galway about
1766. He was apprenticed to a
pewterer and by chance was called upon to repair, in an
emergency, the bugles of a regiment, then quartered in or
passing through the town in which he worked. He performed
his task so well that he became noted for the work and thus
105
gradually became involved in dealing in musical instruments
and music. He set up in the music and instrument trade in
Dublin and took his younger brother, William, who had a
shop at 4, Westmoreland Street, into partnership.
The brothers conceived the idea of a collection of Irish
Melodies, with words to be written by several poets, chief
among whom was to be Thomas Moore, the music being fitted
and arranged for publication by Sir John Stevenson ; it seems
to have been intended to run much on the same lines as
George Thomson's Scottish Collection, then publishing.
Stevenson appears to have communicated the project to
Moore, who was then in England, and who replied favourably.
It is said that he agreed to write six songs for ,£50, but the
first number of the Irish Melodies contains twelve Songs, and
the work was entirely left in Moore's hands. The enormous
success of it, after the publication of the first number, led to
an arrangement for the payment to Moore of an annuity
of ^"700. Near the end of the year 1807, James Power
removed to London, and in 1808 was settled at 34, Strand, as a
military musical instrument maker and music seller, while his
brother William stayed in Dublin, and they published works
in common. The first six numbers of the Irish Melodies,
which were reprinted over and over again, was of course the
principal of these. Power had the exclusive right to publish
music to Moore's songs, and besides single sheet songs the
following were issued by him, " Popular National Airs," 6
books, 1 818 to 1828, " Sacred Songs," " Evenings in Greece,"
etc. Other collections include " Canons, Catches, & Glees,"
by Sir J. Stevenson, " A Selection of Scotish Melodies," by
Horace Twiss, " Indian Melodies," C. E. Horn, " British
Melodies," by Clifton and Dovaston (only the first volume),
and an edition of Edward Bunting's first Irish collection.
Moore's "Irish Melodies" extended down to the year 1834.
Copies of the numbers after the 7th are by no means common.
Addison & Hodson acquired, after Power's death, the plates
and copyright of at least the "Irish Melodies." Whatever
partnership had at one time existed between the two brothers
it does not appear to have continued. James Power died
October 26th, 1836, and his widow, in 1844, advertises that she
alone holds the privilege of publishing music for any of
Moore's lyrical works. For some notice of James Power see
the " Literary Gazette," No. 1024, 1836.
106
Preston & Son. J°hn Preston, the founder of the
firm, was, according to the directory
of 1774, then established at 9, Banbury Court, Long Acre, as
musical instrument maker, and possibly as music publisher,
though I have as yet found no music bearing this address on
the imprint. In 1776, he was at 105, Strand, near Beaufort
Buildings, publishing books of Lessons for the guitar, etc. He
advertises "the greatest variety of new music and musical
instruments, ruled paper, etc., wholesale and retale." In 1778
he had removed to 98, Strand, a mistake in the directory
possibly for 97, for at this latter number the firm remains
from before February, 1781, till about 1822. John Preston's
business soon became an important one, and he published a
great quantity of the best music of his day. In 1789, Preston,
who had just taken his son Thomas into partnership, bought
the whole plates and stock-in trade of Robert Bremner, and
had additional premises at Exeter Change.
Between 1798 and 1801, John Preston disappears from the
firm (though in some instances the old style, Preston & Son, is
used), and Thomas alone remains. In 1823 Thomas Preston
had left the Strand and was at 71, Dean Street, Soho, where he
remained until after 1833. In 1837, Messrs. Coventry & Holliers
have possession and are re-publishing from Preston's old
plates. Coventry & Hollier are advertising in 1848, but their
names are not in the Musical Directory for 1853 > Novello &
Co. were large purchasers at the sale of their effects.
The Preston publications are very numerous. They in-
clude a great number of the English operas in oblong folio and
the usual popular sheet music, besides a long series of Country
Dances in yearly sets of twenty-four for the violin in oblong
8vo. This series started with the set for 1786 and reached
down to at least 181 8. The dances are numbered (with
occasional mistakes) continuously, reaching at the end of the
1818 set to No. 861 ; printed on both sides of the paper. They
also published Country Dances in folio and oblong 4to. Other
more important works were Bunting's " Ancient Irish Music,"
vol. 1 (1796) — the original publication, freely pirated by Irish
music printers. " Twelve Original Hibernian Melodies,"
Miss Owenson, folio, " Shakespeare's Dramatic Songs," W.
Linley, 2 books, folio, " Musica Antiqua," J. S. Smith, 2 vols.,
folio. They were also the London publishers and printers of
George Thomson's " Scottish, Irish, and Welsh Collections."
107
Plirday & Button. 75, St. Paul's Church Yard. They
were the direct successors to the
Thompson family, and came into possession of the premises
about 1804-5. They published sheet music some of which is
dated 1805 and 1806. In 1807 the names were transposed
into Button & Purday, and in 1808 the firm became Button &
Whitaker.
Purday, .Zenas. Took Bland's old shop at 45, Holborn,
succeeding William Hodsoll about
1833 ; he was at this address in 1853 an< ^ published a great
deal of popular sheet music, especially humorous songs.
Purday, X. E. 5°» St. Paul's Church Yard, published
sheet music and advertised in 1838 ;
— was at the above address in 1853.
Pyper, John. Published (circa 1610-20) " Parthenia
Inviolate, or Mayden Musick for the
Virginalls and Bass Viol, printed by John Pyper," oblong 4to,
no date, see Rimbault's " Musical Illustrations of Percy
Reliques," 1850, p. 6.
Randall, P. Had a shop at Paul's Grave, without
Temple Bar at the sign of the Violin and
Lute; this was in 1707 and 1708, but a few years later he
seems to be in some way a partner of John Walsh, senior,
with the Catherine Street address. If such a partnership
existed it cannot have been of long standing, for Randall's
name is soon omitted from the Walsh imprints, and in many
cases plates show that his name has been present, but after-
wards erased.
1707 The Union ; Mr. Isaack's new dance, performed at Court on
her Majesty's birthday, 1707, London, printed for J. Walsh,
at ye Harp and Hoboy....J. Hare, at ye Viol and Flute,
in Cornhill, and P. Randall, at ye Violin and Lute, without
Temple Bar, oblong 8vo. (Taphouse).
1708 Lyra Davidica. . . .printed for J. Walsh, .and J. Hare, instru-
ment maker, at the Golden Viol and Flute, in Cornhill, near
to Royal Exchange, and P. Randall, at the Violin and Lute,
by Paul's Grave Court, without Temple Bar, 1708, small
8vo (Quoted — " Musical Times," April, 1898.)
1708 Twenty-four new Country Dances for the year 1708
I. Walsh.... I. Hare.... and P. Randall, at ye Viol and
Lute, without Temple Bar, in the Strand, oblong 8vo.
(Taphouse).
1711 Twenty-four new Country Dances for the year 1711
London, printed for I. Walsh, servant to her Majesty, and
P. Randall, at the Harp and Hoboy, in Katherine Street,
108
and J. Hare, at the Viol and Flute, in Cornhill, oblong 8vo.
(British Museum.) The dances for 17 14 have Randall's name
erased.
Pepusch's Cantatas and other of Walsh's publications have
similar imprints.
Randall, William. Was probably a son or other
relation of the above. On the
death of John Walsh, junior, in 1766, he, with another named
Abell, took over the business and the shop in Catherine Street.
Randall & Abell were not, however, long in partnership and I
have only seen two works bearing their imprints "The Messiah"
(which they were the first to print in full), and " The Accom-
plished Maid, a comic opera London, printed by Messrs.
Randall & Abell at the late Mr. Walsh's in Catherine Street,
in the Strand," 8vo. (acted in 1766), a continuation of a series
of ballad operas commenced by Walsh. William Randall
was in business alone before 1771 and re-printing Handel's
works from the old plates, as well as issuing fresh works of
his own. He also purchased and reprinted some of Oswald's
plates and projected a general collection of Oswald's own com-
positions. This does not appear to have gone very far how-
ever, and the reprint from the old plates of the " Comic Tunes
in Queen Mab," which bears the imprints of Wm. Randall,
and of Straight & Skillern, was probably the first. (See
Oswald.)
From some few of Randall's imprints, we, for the first
time, get the number of the Walsh premises which were
No. 13, Catherine Street. Randall's business must have been
fairly extensive and he printed a lengthy " Catalogue of Vocal
and Instrumental Music for the year 1776" ; this is interesting
from a bibliographical point of view. The bulk of the list seems
to be Walsh's publications. I have not been able to ascertain
the date of his death, it must have been between 1777 and
February 27th, 1781, for at this latter date there is an adver-
tisement in the " General Evening Post," of a music book,
which, giving the name " Eliz. Randall, Catherine Street,"
shows that the business was held presumably by his widow.
Before 1784, Messrs. Wright & Wilkinson were established
at 13, Catherine Street, and re- printing Handel's works from
Walsh's plates. In 1789, Hermond or Harman Wright
was here alone until at least 1799 ; in 1802 he had vacated the
old place and gone to the Strand.
In addition to the works named above, the following have
Wm. Randall's imprint : — " A Plain and Easy Introduction to
the Skill of Music," Thomas Morley, 1771, 4to, a reprint of
109
the 1597 edition; "A Second Collection of French Songs and
Duetts," Meyer, oblong 410 ; " Six Solos for a German Flute,
by I. R., Esq. (John Reid, afterwards General Reid)," oblong
folio, reprinted from Oswald's plates. Several collections of
Vauxhall songs, in folio, as: — Potters, 1773-4; Carters, 1777
Hooks, 2nd collection, 1777; etc., "Twenty-four Country
Dances" for 1 771 -2-6, oblong 8vo., etc.
Ratcliffe, T. A printer in partnership with N. Thomp-
son. They printed in 1675 the "Vocal
Musick in Psyche to which is adjoyned the instrumental
musick in the Tempest, by Matthew Locke London,
printed by T. Ratcliffe and N. Thompson, for the author, and
are to be sold by John Carr at his shop at the middle Temple
Gate, in Fleet Street, 1675," 410. (Taphouse). Also the famous
" Musick's Monument," by Thomas Mace, 1676, folio.
Rauche, Michael & Co. Published about 1770,
" Thirty-eight Lessons,
with an addition of Six French and Italian Songs, for the
Guittar, composed by F. Shuman, op. 1st, London, printed for
and sold by Michael Rauche & Co., at the sign of the Guittar
and Flute, in Chandois Street, near St. Martin's Lane," oblong
4to, circa 1770, p.p. 38.
Rayner, William. Published in 1738 a volume of
songs with engraved headings in
similar style (but preceding) "Clio and Euterpe," "Calliope,"
etc. The book is octavo and the engravings are signed J.
Smith, fecit; it consists of 143 sheets printed on one side only,
with the title " The Universal Musician, or the Songster's
Delight, consisting of the most celebrated English and Scottish
Songs, favourite Cantatas, &c. ; designed for the entertainment
of lovers, country sportsmen, jovial companions, and all others
who have any taste for mirth, good humour, and polite conver-
sation, vol. 1, London, printed for William Rayner, 1738," (no
address ; another copy is printed " for the booksellers."
(British Museum, Bodleian, etc.)
Reynolds, J. Of *74> Strand, with afterwards another
address at 10, Broadway, Ludgate Hill,
published about 1825 a tutor for the violin, oblong 4to, also
"The Amateur's Flute Companion," by G. W. Bown, small
410, probably some years earlier. In 1853, J. Reynolds is at
173, Bethnal Green Road.
110
Riley, Edward. 8> Strand, near Charing Cross. He
was in business here, according to
the directory in 1799, and in 1802 ; he issued a set of twenty-four
Country Dances in oblong 8vo for the former year. He was
a music engraver as well as a music seller, and engraved some
sheet music for G. Walker; " Sunday Amusement," an octavo
volume, is also his work. Much sheet music has his imprint
as engraver and publisher. At one time his address was 196,
Fleet Street, which was probably a prior one to that in the
Strand. I have not found when he ceased from business.
Riley & Willis. 2 3> Commerce Row, Blackfriars
Road, published sheet music about
1805-10, which is marked as sold also by W. Howe, 1, Alfred
Place, London Road, St. George's Fields. The senior
partner may be the E. Riley above.
Roberts, Henry. An ornamental and a music
engraver, who issued two notable
books of illustrated songs. One named " Calliope, or English
Harmony," 2 vols., octavo, and the other "Clio and Euterpe,
or British Harmony," originally published in two volumes,
but with a third and a fourth added later. In both works the
song and the music is engraved under a pictorial heading,
which is supposed to illustrate each lyric. "Calliope" was
published in numbers of eight pages each, and was commenced
late in the year 1737. Twenty- five numbers (two hundred
pages) form the first volume, which bound up with a title page
is dated 1739; the plates themselves have the dates 1737-38
and 1739 engraved on them. The second volume has 1739 for
the date of the first two parts, but the work then seemed to
come to a standstill until about 1745-6, when John Simpson,
of Sweeting's Alley, got possession of the plates and employed
Roberts to finish the volume. The contents include " God
Save the King," and other songs taken from the Gentleman's
Magazine for 1745, and one from 1746. The title page,
which does not bear a date, has an advertisement of an ode
upon the return of the Duke of Cumberland after the victory of
Culloden, showing that the publication is as late as 1746. I
am thus particular in proving the date, for it has been more
than once asserted that the song " God Save the King " is in
"Calliope" prior to 1745. The work was afterwards repub-
lished by Longman & Broderip. " Clio and Euterpe," perfectly
similar in style, was probably also published in numbers ; the
first edition was in two volumes dated 1758 and 1759 ; it was
again re-issued in three volumes, with the date 1762. At a
Ill
much later period John Welcker had the plates and re-issued
it again with an incomplete fourth volume.
Henry Roberts also engraved some ornamental music
titles ; one is a dedication to Augusta, Princess of Wales, on
Giuseppe St. Martin's "XII Sonatas," published by Walsh.
Another much later is a tastefully etched vignette on the title-
page of " Elegies by Wm. Jackson, of Exeter, printed for the
author and sold by Mrs. Johnson, of Cheapside," folio, circa
I765-
The imprint on " Calliope," volume first is : — " London,
engraved and sold by Henry Roberts, engraver and printseller,
at his shop in New Turnstile, over against the Vine Tavern,
in High Holborn, of whom may be had compleat setts or any
odd numbers, likewise all sorts of prints, maps, drawing books,
etc., 1739." Vol. 2nd is London, engraved by Henry Roberts,
printed for and sold by John Simpson, at the Bass Viol and
Flute, in Sweetings Alley," etc., no date. The second volume
of " Clio and Euterpe " has the imprint, " London, sold by
the proprietor, Henry Roberts, engraver and printseller, near
Hand Alley, almost opposite Great Turnstile, Holborn, 1759."
Rogers, \A/ r illiam. Published "A New and Easie
Method to learn to sing by book
printed for William Rogers, at the Sun, against St.
Dunstan's Church, in Fleet Street, 1686," i2mo. {Taphouse.)
Rolfe ^filliam. II2 > Cheapside, appears to have
commenced business about 1798,
when his name first occurs in the directory at 118. Cheapside,
evidently a misprint, which is corrected to 112 in the ones for
1799 to 1807. He published sheet music, and his name, with
others, is on the imprint of a small oblong volume "The
Gentleman's Pocket Companion for the German Flute or .
Violin," circa 1799. Another work is "William Rolfe's
Elegant and Fashionable Collection of Twenty-four Country
Dances for the year 1799, London, printed for William
Rolfe, 112, Cheapside, where may be had a new set of dances
for the year 1799," oblong 8vo.
Rose, William. 53. Strand, near Buckingham Street,
published some folio numbers of
Country Dances ; one is : — "No. i, Rose's Collection of Country
Dances for the year 1826, composed and arranged by J. Hixon,"
folio.
112
Royal Harmonic Institution. A number of
musicians of
whom William Hawes was the most active member, took,
about the year 1820, extensive and handsome premises at the
Argyll Rooms, 246, Regent Street, for the performance of
Concerts and for the sale of music, which was published in a
co-operative manner and bore the imprint " Published by the
Royal Harmonic Institution, 246, Regent Street." Music by
the members was thus issued, including Dr. Crotch's
"Thorough Bass" and his "Specimens of various styles of
Music," 3 vols., folio. " A Collection of Scotch Songs, by
William Hawes," and a great mass of sheet music. They
were advertising in 1821, but in or about 1825 the Society got
into difficulties and the business was left in the hands of Hawes
and of Thomas Welsh, a teacher of singing. They did not,
however, remain together very long, and ultimately Welsh was
left in sole possession of the premises. He published and sold
music besides using the rooms for singing lessons and concerts.
From the first conception of the Royal Harmonic Institution,
the thing had been an utter failure, and a fire which occurred
in February, 1830, put a stop to its continuance.
Rutherford, David Apparently father and son.
Xr TnVin David Rutherford, a Scotch-
J ' man, kept a music business at
the sign of the Viol and German Flute, in St. Martin's Court,
near Leicester Fields, and was succeeded by John Rutherford.
The first named may have been in trade as early as 1745 ; he
published books of Country Dances, Minuets, and of instruc-
tions for various instruments. Among other works he issued
an octavo edition of William Mc Gibbon's Scotch Airs in six
books. Some half sheet songs signed I. R., may also
be referred to him. He must have published an oblong octavo
volume of twenty-four country dances for 1749, as the yearly
set for 1750 starts at page 13, dance No. 25. These yearly
sets were gathered into volumes containing two hundred
dances, and the first of these collections are the yearly dances
from 1749 to 1756 inclusive. The second volume of two
hundred will probably be those from 1757 to 1764, and the
third, bearing the imprint of John Rutherlord, will reach
to 1 771-1772. My copy of the 2nd volume has unfortunately
the title with the imprint missing. John Rutherford re-issued
the whole three volumes from the same plates. I am uncertain
as to when David Rutherford was succeeded by John, but the
latter issued Country Dances for 1772, and he is named in the
directories for 1781 and 1783.
113
David Rutherford : —
1750 Twenty-four Country Dances for the year 1750, oblong
8vo, p.p. 13 to 24. (Glen).
C. 1756 Rutherford's Compleat Collection of the most celebrated
Country Dances, both old and new.... vol. 1st, printed and
sold by David Rutherford, at the Violin and German Flute,
in St. Martin's Court, near Leicester Fields, London, oblong
8vo, 200 dances (from 1749 to 1756).
Ditto, volume 2nd. Ditto, volume 3rd ; this latter has the
imprint of John Rutherford, same address.
C 1748-50 Sixteen of the most favourite Minuets, with their basses,
which are now in vogue, 8vo. Ditto, a second collection.
C. 1756 A Third Collection of Sixteen of the most favourite
Minuets, with their basses. . . .London, printed and sold by
David Rutherford, at the Violin and German Flute, in St.
Martin's Court, 8vo. Ditto, a fourth collection.
The Gentleman's Pocket Guide for the German Flute,
with favourite airs by eminent masters, 8vo.
The Ladies' Pocket Guide, or the Compleat Tutor for the
Guitar, with favourite airs.
The Compleat Tutor for the Fife, 8vo.
A Collection of Scots Tunes, some with variations for a
violin, hautboy, or German flute, with a bass for a violoncello
or harpsichord, by William Mc Gibbon. — Books I to VI with
separate title pages to each, 8vo. Mc Gibbon's first Edin-
burgh editions were published in 3 books, 1742-46-55 in
oblong folio.
John Rutherford : —
1772 Twelve Selected Country Dances, with figured basses for
the harpsichord, for the year 1772. ... London, printed for
John Rutherford, in St. Martin's Court, near Leicester
Fields, oblong 8vo. (Sir J. Stuiner.)
C. 1772 A Favourite Overture for the Harpsichord or Pianoforte,
composed by Sig. Schwaneberg, London, John Rutherford.,
where may be had 60 Country Dances for 2s. 6d. ; 12 ditto
for the year 1772.
C. 1776 The Sixth book of twelve favourite Cotillons and Country
Dances, with their proper figures. . . .Thomas Budd, London,
printed and sold by John Rutherford, at his music shop in
St. Martin's Court, oblong i6mo.
Thomas Budd seems to have been master of the ceremonies at the
Pantheon, and between 1773 (or prior) and 1801 he and his son published
sets yearly, employing minor music publishers for printing and selling the
same.
Rutter & McCarthy. 120, New Bond Street. They
were publishers of sheet
music, vocal and instrumental, about the year 1820, etc.
Their names are in the directories for 1819-22-23-24, but not
in 1825.
114
Salter, Humphrey. An early music seller at the
sign of the Lute, in St. Paul's
Church Yard. He published, in conjunction with Richard
Hunt, in 1683, " The Genteel Companion, being exact^ direc-
tions for the Recorder, with a collection of the best and newest
tunes and grounds extant, carefully composed and gathered by
Humphrey Salter... London, printed for Richard Hunt and
Humphrey Salter, at the Lute, in St. Paul's Church Yard,
1683," oblong 8vo. (See Hunt.) So late as 1705, his name
is found on the imprint of a work printed by Wm. Pearson,
" The Complete Dancing Master's Companion, containing
the Marlborough, Mr. Isaack's new dance... danced at Court
on her Majesty's birthday, 1705: the third book... London,
printed by William Pearson, and sold by John Cullen, and
Humfrey Saulter, at the Lute, in St. Paul's Church Yard,"
oblong 8vo (Taphouse). I have seen no later date for Salter.
Schuchart Ch. In the British Museum (G. 312, p.
289) there is a song sheet " Miss
Betty Ball, a new song," with the imprint " Ch. Schuchart,
at the 2 Flutes and Hautboy, in Chandois St.," apparently
printed about 1750. This is the only example of his publica-
tions I have seen.
Scott & Co. Were patent pianoforte makers to the
Prince of Wales and Royal family. In
1806 and 1807 they were at 15, Margaret St., Cavendish
Square, but in 1808 they had removed to 36, Pall Mall, and
were here in 1810. In 1820 their business was at 29, Mortimer
Street, Cavendish Square. They issued some sheet music
from the Pall Mall address.
Seres, William. An early and important printer,
who worked in conjunction with
John Day and others. He was printing in 1548 and 1549,
and was one of the earliest members of the Stationers' Com-
pany, serving the offices of Warden and Master, this latter in
1570-1-5-6-7. Strype relates that Seres "had a privilege for
the printing of all Psalters, all manner of Primers, English,
and Latin, and all manner of prayer books ; that as this
privilege was taken aw T ay by Queen Mary, so it was restored
by Queen Elizabeth, by means of Lord Cecil, with the addition
of the grant to him and his son during the life of the longest
liver, and that this gave occasion to a great case, for Seres,
the father, in his latter years, not being able to follow his
business assigned his privilege, with all his presses, letters,
115
stocks, and copies, to one Henry Denham, for a yearly rent.
Denham took seven young men of the Company, setting up
presses more than England might bear, did print other men's
copies forbidden to them," etc., etc. (see extract in Johnson's
" Typographia"). His music printing seems to have been
confined to one or two Psalters and similar works. — 1560 and
prior.
Shade, G. Published a great deal of sheet music near
the years 1820-5, etc. His first imprint
(lightly etched, on some sheet music, circa 1815) is "printed
and sold by G. Shade, 9, Charles Street, Soho." Before 1817
he was in Soho Square, anda bout this date, and afterwards, his
music bears the imprint " G. Shade, East side of Soho
Square." From this address he published some folio collec-
tions of Country Dances, etc., one is " No. 7," and another,
" Draper's Collection of favourite Waltzes, for the year 1818,
by Louis Jansen, marked Dances No. 2." He printed also a
large quantity of song sheets ; one of these, " A Trip to Mar-
gate," has humorous marginal illustrations in a style then very
popular.
Short, Peter. Lived at the sign of the Star, on Bread
Street Hill, from about 1584 to 1603.
He was a music and letterpress printer, and in addition to the
first edition of Mor ley's Treatise on Music, 1597, and Anthony
Holborne's " Cittharn Schoole," 1597, he produced a number
of madrigal books.
In 1608, Humfrey Lownes is found at the " Starre on
Bread Street Hill," and apparently succeeded to Short's
business.
1597 A Plaine and Easy Introduction to Practical Musick by
Thomas Morley. .. .Imprinted at London, by Peter Short,
dwelling on Breed Street Hill, at the signe of the Starre,
1597, folio.
i<597 The Cittharn Schoole, by Anthony Holborne, 1597, (same
imprint).
l 597 Canzonets, or little short songs, to foure voyces. .Thomas
Morley, 1597, 4to.
1597 The First Booke of Songes or Ayres of four parts. . . .John
Dowland, 1597, folio.
1 597 Canzonets, or Little Short Airs to five and sixe voices. . . .
Thomas Morley, 1597, 4to.
1598 Canzonets to fowre voyces, with a song of eight parts,
compiled by Giles Farnaby, 1598, 4to.
*599 Ayres for foure voyces, composed by Michael Cavendish,
1599, folio.
116
i6or The Second Booke of Songs and Ayres, set out to the
Lute. . . .Robert Jones, printed by P. S., for Matthew Selman,
by the assent of Thomas Morley, and are to be sold at the
Inner Temple Gate, 1601, folio.
1603 The Third and Last Booke of Songs or Aires, newly com-
posed to sing to the Lute, Orpharion, or Viols.... by John
Dowland, 1603, folio.
Sibley, ^Af. King's Mews Gate, Castle St., Leicester
Square, published sheet songs about 1818.
He also republished from the original plates, the series of
Country Dances in folio " Five Favourite Country Dances,"
No. 1 to 36, first published by H. Andrews.
Simpson, John. Of Sweeting's Alley, Cornhill, near
the Royal Exchange. He was a
publisher of many important works during the early part of
the eighteenth century. He seems to have been a manager or
assistant to Mrs. Hare, the widow of Joseph Hare, who had
a shop near or in the same premises occupied by Simpson.
One of the original addresses of the Hare family was Free-
man's Yard, Cornhill, but many of the imprints, especially the
later ones, merely give the name " in Cornhill," or " in Corn-
hill, near the Royal Exchange." Joseph Hare died in July,
1733, and the first notice I can find of Simpson is the half
erased imprint on a page in the first volume of " Thesaurus
Musicus " (p. 65). Most of the pieces forming the contents of
this work have been single songs, issued by Simpson (and
having his name at the foot), before being collected into a
volume. The page in question is " A two part song on the
approaching nuptials of the Prince of Orange and the Princess
Royal of Great Britain." This event occurred on the 14th
of March, 1734, so that it may be well assumed that the song
was issued prior to this, and the probability is that it was pub-
lished by Simpson, like others, in the volume. It has the imprint
" Printed for J. Simpson, in Sweeting's Alley, Royal
Exchange," which can still be easily read on most copies.
Another early notice is an engraved slip pasted over the im-
print of a work issued by John Walsh, about 1736, " Sold by
John Simpson, at the Viol and Flute, in Swithen's Alley, near
the Royal Exchange, London, from the late Mrs. Hare's, in
Cornhill." Mrs. Hare died in 1741, having been living at
Islington (see Hare). Though Simpson always afterwards
spelled the word Sweeting's, yet a contemporary work, " New
Remarks of London," 1732, makes it evident that the Alley
was then known indifferently as " Swithen's," or as " Seeth-
ing's Aliey." It was adjoining Freeman's Yard and ran from
117
the back of the Royal Exchange. Thackeray speaks lovingly
of Sweeting's Alley and its print shops — " Knights, in Sweet-
ing's Alley; Fairburn's, in a Court off Ludgate Hill... not only
has Knight disappeared from Sweeting's Alley, but, as we are
given to understand, Sweeting's Alley has disappeared from the
face of the Globe." [Essay on Geo. Cvuikshank, 1840.)
Though Simpson adopted the same sign used by John and
Joseph Hare, the Viol and Flute (or Bass Viol and Flute), yet
in the engraved slip above quoted the use of the word " from "
rather precludes the idea that he was settled on the same
premises, though Hare's and Simpson's shops must have been
quite close to each other, and there is no trace that after the
death of Mrs. Hare the old business was carried on by any
one else. I have not found anything to lead me to suppose that
Simpson had possession of any of Hare's plates. Simpson
must first have published single half-sheet songs, and many of
these were re-issued to form "Thesaurus Musicus." In the
earlier period he published, in conjunction with one of the
proprietors of the printing office in Bow Church Yard (most
likely Dicey), as a flute tutor has the Bow Church Yard im-
print and "sold also by John Simpson, musical instru-
ment maker, at the Viol and Flute, in Sweeting's Alley, near
the Royal Exchange, from the late Mrs. Hare's, in Cornhill."
Simpson's publications include the two scarce volumes of
Irish tunes by Burk Thumoth ; some of James Oswald's
works; Carey's "Musical Century," "Calliope," etc. He
died shortly after 1746 (probably in 1747) and was succeeded
by John Cox, who published one or more works from Simp-
son's plates. There is nothing to indicate that Cox retained
the business very long, but much later in the century two
musical instrument makers named James and John Simpson,
who also sold music, were established at 14 (or 15), Sweeting's
Alley. These, we may assume, were sons, or more likely son
and grandson of the original John Simpson (who was also a
maker of instruments), and they are often confounded with him.
The Directory for 1770 first names James and John
Simpson, musical instrument makers, No. 15, Sweeting's
Alley, and they hold position till 1795. In 1796 the entry is
"J. Simpson, 14, Sweeting's Alley," and in 1800 the Christian
name is "James." In the "Times," July 12th, 1796, and
other dates, a " Set of Twelve Hymns, set to music by
J. F. Hering" is advertised to be sold by Mr. J. C. Simpson,
Sweeting's Alley.
118
Eighteen Canzonets for two and three voices, the words
chiefly by Matthew Prior, Esq., set to music by John
Travers (quoted in " Musical World," 1837, p. 44).
Six Sets of Lessons for the Harpsichord. . . .composed by
Sig. Sandoni ; oblong folio.
Six Cantatas, set to music by Wm. Hayes.
The Newest Method for learners on the German Flute, as
improved by the greatest masters of the age engraved,
printed and sold at the printing office in Bow Church Yard,
in London, where books of instructions for any single instru-
ment may be had ; also by John Simpson, musical instrument
maker, at the Viol and Flute, in Sweeting's Alley, near the
Royal Exchange, from the late Mrs. Hare's in Cornhill, 8vo.
The Compleat Tutor for the Harpsichord or Spinet, 8vo.
Twelve Scotch and twelve Irish Airs for the German
flute or harpsichord, by Mr. Burk Thumoth, 8vo.
C. 1740 The Musical Century, consisting of English Cantatas and
Songs, on various Subjects. .. .set to musick by Mr. Henry
Carey. .3rd edition, folio, plates dated 1740.
(The first edition of this was " printed for the author and
sold at the music shops, 1737.")
C. 1746 Calliope or English Harmony, a collection of the most
celebrated English and Scots Songs, volume 1st and 2nd.
(Originally commenced and first volume published by
H. Roberts, the engraver, completed by Simpson).
Thesaurus Musicus, a collection of two, three and four
part songs, several of them never before printed. .. .Ditto,
volume 2, folio. (This is said to have borne a prior title,
" Harmonia Anglicana " (see Chappell, 704). Re-published
by Bremner.
The Delightful Pocket Companion for the German Flute
(two volumes, six parts in each, with the same frontispiece to
each part ; by Geo. Bickham, junr.) ; 8vo. Republished by
Bremner.
Also many single half-sheet songs published circa 1745, many having
reference to the Scotch rebellion.
Other works advertised in Simpson's list are ; —
A Curious Collection of celebrated Airs .... composed by
Messrs. Granno, Weideman, Hasse, Vinci, and other eminent
masters.
Twelve Sonatas or Solos for a German flute.... by Mr.
Lewis Granom.
Six Grand Concertos for Violins, and in 7 parts ; Six Solos
for a German flute; and Six Sonatas for two German flutes,
by Sigr. Giuseppe St Martini of London. Also other
Sonatas, &c, for the German flute and for the violin, by
Lampugnani, St. Martini of Milan, Groneman, Defesh,
Tortoriti, etc.
Handel's Water Music for the Harpsichord.
The Hunting Notes of the French horn.
A Collection of Minuets, Jiggs, etc.
119
The Musical Pocket Book, containing a collection of the
most favourite Minuets, Marches, Jiggs, Preludes, Gavots,
etc., etc.
Two Collections of all the most favourite old and new
Scotch tunes. .. .James Oswald.
The Compleat Tutor for the Violin. Ditto for the German
flute, common flute, harpsichord or spinnet, French horn,
hautboy, bagpipe. N.B. — These books, besides the instruc-
tions, have collections of the newest and most favourite airs
in them.
An Introduction to Singing, after so easy 'a, method that
persons of the meanest capacity may, in a short time, learn
to sing in tune. . . .Peter Prelleur.
The list from which the above selections have been made is at the
end of a copy of the " Delightful Pocket Companion" ; it concludes —
N.B. — " Also a variety of all the newest concertos, solos, sonatas, songs.
All sorts of musical instruments, Roman strings, reeds for hautboys, and
Bassoons, rul'd paper, rul'd books, &c, wholesale and retail. Where may
be had money for old instruments and musick books."
Skarratt, R. T. A music engraver, who, in 1798,
lived at 54, Great Wild Street, and
engraved in that year a " Miscellaneous Collection of Songs,
Ballads," etc., in 2 volumes, folio, printed for its editor, F. A.
Hyde. Skarratt engraved Bunting's Irish Collection, 1809.
In 1 81 7 and 181 8 he was living at 9, Platts Terrace, St.
Pancras, and composing as well as engraving the music for the
" British Lady's Magazine."
Skillern, Thomas. Was partner with Thomas
Straight (see Straight &> Skillern).
The two names are found separate about 1777-8, with Skillern
at the old address, 17, St. Martin's Lane, and Straight at 138
of the same thoroughfare. Skillern appears to have retained
the old plates and stock and continued the series of yearly
country dance books ; he also re-printed, with additions, one
of the larger gatherings, besides publishing a great quantity of
new sheet and half-sheet songs ; much of this sheet music is
merely stamped " Sk."
Sometime after 1799, Skillern leaves St. Martin's Lane.
In 1807 he is in partnership with Challoner and the imprint
is now "Skillern & Challoner, music sellers, 25, Greek Street,
Soho, removed from corner of St. Martin's Church Yard."
About 1 81 5 to 1820, Skillern & Co. are in Regent Street; the
directory for 1822 gives Skillern & Challoner, Regent Street,
near Oxford Street. An address near this period found on
sheet music is " Oxford St. (opposite the Mona Marble
Works), between Holies Street and Bond Street." In 1830,
N. Challoner taught the harp and violin in St. John's Wood."
120
1778 A Collection of Songs sung at Vauxhall .... Composed by
Henry Heron.. ..Bk. VI, T. Skillern, 17, St. Martin's Lane,
1778, folio.
1779 Ditto, Book VII, 1779, folio.
C. 1780 Skillern's Compleat Collection of Two Hundred and Four
Reels and Country Dances, Vol. I, London, printed for T.
Skillern, 17, St. Martin's Lane, near Charing Cross, where
may be had a complete volume of Minuets for the Violin and
Harp, oblong 8vo.
These are yearly dances up to 1780, with the engraved dates. It is
in part a re-issue of Straight & Skillern's "Two hundred and four
Favourite Country Dances, Vol. I."
1787 to Twenty-four New Country Dances for the year 1787,
1799 oblong 8vo. Ditto, 1788-89-91-99 ^same imprint).
A Favourite Collection of popular Country Dances, No. 10,
London, Skillern & Challoner, 25, Greek Street, folio.
Ditto, No. 18 and 20.
Sheet music also having the above imprints and at a later date
" Skdlern & Co., 138, Oxford Street."
Smart, George. One of the earliest notices I can find
is on a trade card belonging to Mr.
Arthur F. Hill, in which G. Smart advertises : " G. Smart,
Sticcado-Pastrole maker, from Mr. Bremner's music shop,
New Bond Street, to Mr. Napier's, corner of Lancaster Court,
Strand, where he continues to make the above instruments,
with improvements." It is, of course, scarcely necessary to
remind the readers that the instrument referred to is a sort of
wooden dulcimer. The card is probably in date about 1770,
and seems to imply that Smart had been a manager of a branch
shop which Bremner must have had in New Bond Street, and
that he had left him to take a situation under Napier. Perhaps
the earliest publication of his I have seen, is in my own
library : — "A New Collection of Country Dances. . .set by Monr.
Boutmont, Dancing Master. London, printed and sold by
G. Smart, at his music, warehouse, the corner of Argyll Street,
Oxford Street, where may be had great variety of new music
and Musical Instruments," oblong 8vo, circa 1775. This
address was 331, Oxford Street, and imprints vary from one
to the other. Smart held the premises from about 1775 until
after 1802 ; in 1807, the address belonged to Walter Turn-
bull. He was the father of Sir George Smart, the musician,
and had much to do with the formation and management of a
musical benevolent fund. His publications include, " Pieces for
the Harp, by Dr. Worgan," folio, circa 1780, and many sheet
songs, including one from C. Dibdin's "Talisman" (1782);
some of the sheet? are merely signed G. S. Smart published also
121
yearly books of Country Dances. Besides the collection by
Boutmont, spoken of above, I have seen sets for 1795 and
1798 in oblong octavo. He also claimed to be a musical
instrument maker.
Smith ^fiftt\. A music engraver of some note, who
was also a music seller in the Strand,
and in Holborn. Sir John Hawkins says: — "William Smith,
who had been an apprentice of Walsh, and lived at the sign of
the Corelli's Head, opposite Norfolk Street, in the Strand,
and Benjamin Cooke, in New Street, Covent Garden, were
printers of music. The former was chiefly employed by such
authors as Festing and a few others, who published their
works themselves, and had a type of his own, remarkably
steady and uniform."
Smith, in 1731, was at the Corelli's Head, near Clement's
Church, in the Strand, and here he engraved many works as
Hawkins says, for various composers. About 1740 he had a
music shop in Middle Row, near Holborn Bars, and he seems
to have remained here until at least 1763, as "Mr. William
Smith, musick engraver, Holborn," is asubscriber for two copies
of Hale's "Social Harmony," dated 1763.
C 1730 The Skylark, a collection of all the Divine Ode and Hymns
taken out of the Spectator. . . .John Sheeles, printed for the
author by Wm. Smith, 8vo.
1 73 1 Twelve Sonatas in three parts, composed by Michael
Christian Festing, op. 2, London, printed by William Smith,
at Corelli's Head, near St. Clement's Church, in the Strand,
and sold only by the author, 1731, folio.
1736 Eight Solos for a Violin. .. .op. 4, Michael Christian
Festing, dated 1736 (same imprint).
1739 Eight Concertos in seven parts, M. C. Festing, 1739.
Six Suites of Lessons for the harpsichord and spinet
Composed by Thomas Chilcot, of Bath, London, printed and
sold by Wm. Smith, at the Corelli's Head, etc , etc., oblong
folio. (Henry Carey's name is put as a subscriber.)
C 1740 The Musick in the Masque of Comus. ..Thomas Augustine
Arne, printed by William Smith, at the musick shop in
Middle Row, near Holborn Bars, and sold by the author,
folio, no date (patent grant to Arne dated 1740).
A Collection of Tunes, part II, containing anthems and
other tunes, compiled by C. Ashworth, London, printed and
sold by J. Buckland, 1762, oblong 4to W. Smith, Sculp., at
end of book,
Snagg, Richard. 2 9> Paternoster Row, a bookseller,
who published the first volume of
the "New Musical and Universal Magazine." This is a thick
122
octavo volume with engraved music and a letterpress supple-
ment, containing general matter — tales, poetry, etc., and with
treatises on music running serially. The first part was for
September, 1774, and the volume seems to end in December,
1775. J. French published the succeeding volumes. Snagg
also printed one or more song books without music as "The
Robin, or Ladies Polite Songster," and among other works a
small book of anecdotes, entitled " Woman's Wit."
Snodham, Thomas. Was an early music printer
who succeeded to the business
of Thomas Este. It has been assumed, apparently merely on
the ground that a book has the imprint " Tho. Este,
alias Snodham," that Este changed his name to Snodham
in 1609, but I venture to think that Snodham, by this
imprint, meant merely thus to identify himself with the busi-
ness he had succeeded to. Moreover Thomas Este was
printing in 1569, and Snodham's latest date is about 1624,
almost too lengthy a period to be covered in one working life.
Snodham's first work is "The Second Set of Madrigales
by John Wilbye, London, printed by Tho. Este, alias Snod-
ham, for John Brown, and are to be sold at his shop in
S. Dunstan's Church Yard, Fleet Street, 1609," 4to. Another
is: — "Ayres by Alfonso Ferrabosco," 1609. Other works
printed by Snodham are Michael East's "Third set of Bookes,"
1610; Campian's "Two Bookes of Ayres," t 1610; Byrd's
"Psalms, Songs, and Sonnets... printed by Thomas Snodham,
the assigne of W. Barley, 161 1 "; "The XII Wonders of the
World, set and composed for the Viol de Gamba, the Lute,
and the Voyce...John Maynard," 1611; "The First set of
Madrigals... newly composed by Orlando Gibbons," 1612;
"Third and Fourth Booke of Ayres... Thomas Campian"
(1612) ; "Second Booke of Ayres. ..Wm. Corkine," 1612;
"First set of English Madrigals... John Ward," 1613; " Second
set of Madrigals... Thomas Bateson," 1618; "Fourth set of
Bookes, wherein are Anthems... Michael East," 1618; "Fift
set of Bookes, wherein are songs full of spirit and delight...
Michaell East," 1618; "Ayres that were sung and played at
Brougham Castle... Composed by Mr. George Mason and Mr.
John Earsden," 1618; "The First Set, Beeing Songs of divers
Ayres and Natures Thomas Vautor," 1619 ; "Private
Musick, or the first Booke of Ayres. ..by M.P., Batchelor of
Musicke," 1620 (Martin Peerson); "Songs of 3, 4, 5, and 6
parts, by Thomas Tomkins," 1622; "First Booke of Ayres of
Four Parts John Attey," 1622; "Sixt set of Bookes,
123
wherein are Anthems... Michaell East," 1624; "Second set of
Madrigals and Pastorals... Francis Pilkington," 1624. Full
titles of the above will be found in Rimbault's "Bibliotheca
Madrigaliana," 1847, and most of the books are in the British
Museum and Bodleian libraries.
Sprint, John & Benjamin. At the Bell, in Little
Britain, booksellers,
whose names appear in conjunction with that of William
Pearson on some of the later editions of Playford's works,
as: "Harmonia Sacra, 1703, printed for Henry Playford, at his
shop within Temple Change... and John Sprint, at the Bell, in
Little Britain." Playford's ; ' Psalms, 15th edition, sold by
John and Benjamin Sprint," 1719; "Introduction to the skill
of Musick," 18th edition, 1724, and 19th edition, 1730.
Stansby, William. A notable letterpress printer,
who also printed some musical
works, which latter include: — "Ayres to sing and play to the
lute...Wm. Corkine," 1610; " Melismata, Musicall Phansies,
fitting the Court, Citie, and Countrey Humours," 161 1;
"Teares, or Lamentations of a sorrowful Soule...set forth by
Sir William Leighton," 1614; "French Court Ayres, with
their ditties Englished... Edward Filmer," 1629; " Mottects or
Grave Chamber Musique...by M. P., Batcheler of Musique
(Martin Peerson), 1630; "Madrigalls and Ayres of 2, 3, 4,
and 5 voyces... Walter Porter," 1632; "Seventh Set of Bookes
...Michaell East," 1638. In ordinary letterpress Stansby
printed an early edition of "The Seven Champions of Christen-
dom," 1616, and Selden's "Titles of Honour," 1614.
Straight & Skillern. Thos. straight and Thos. Skil-
lern were established in Great
Russell Street, Covent Garden, before 1768, and they issued a
set of Country Dances for that year from this address. They
were at 17, St. Martin's Lane, in a shop previously held by
James Oswald, before 1771 (probably about 1769 or 1770),
and from here published sheet music and continued their
yearly sets of Country Dances. They appear to have taken
over some of Oswald's plates and stock, and they re-issued his
"Caledonian Pocket Companion," while, with Wm. Randall's,
their names are on the imprint of "The Comic Tunes in
Queen Mab," the re-print from Oswald's old plates. Where the
full imprint is not given on their sheet music, the publishers
are indicated by "Str. & Sk." Straight was a music engraver.
124
He retired from the firm in 1777 or 1778, leaving Skillern in
possession of the shop at 17, St. Martin's Lane, and removing
higher up to No. 138.
1768 Twenty-four Country Dances for the year 1768 London,
T. Straight & Skillern, in Great Russell Street, Covent
Garden, where may be had, just published, 6 easy Sonatas,
or Duetts for 2 G. Flutes, by Alex Bezozzi. .A Select Collec-
tion of Catches. .The Farmer's description of London, a
favourite medley, .oblong 8vo.
C. 1770 The Caledonian Pocket Companion, .by James Oswald,
Book III [IV, V, VI, etc], printed for Straight & Skillern,
St. Martin's Lane, large 8vo.
1771 A Collection of Favourite Songs sung at Marybone
Gardens by Miss Harper, composed by Theodor Smith,
1771, London, printed for Straight & Skillern, in St. Martin's
Lane, near the Strand, folio.
The Highland Laddie, as originally composed for and
sung at Mary Bone Gardens, in June, 1771, and now pub-
lished by the author at the solicitation of his friends ; set to
music by P. Hayes, Mus. Doc, printed for W. Matthews,
in the High Street, Oxford, engraved by T. Straight, No. 17,
St. Martin's Lane (sheet song).
Also a great number of Cantatas and airs, with variations, for the
hirpsichord about this period — as " Roast Beef Cantata," etc.
C. 1775 Two Hundred and four favourite Country Dances. .Vol. I,
London, printed for Straight & Skillern, St. Martin's Lane,
near Charing Cross, where may be had a complete volume
of Minuets, oblong 8vo. Contains the yearly dances from
1768 to 1775, with the dates engraved— (re-published by
Skillern).
1776 Twenty-four Country Dances for the year 1776. .T. Straight
& Skillern, in St. Martin's Lane, near the Strand, oblong
8vo, same plate as dances for 1768 with address altered.
Straight, Thomas. Was either the above Thomas
Straight or his son. At the
dissolution of the partnership of Straight & Skillern he is found
alone at 138, St. Martin's Lane, where he published sheet-
music and engraved many works for other music publishers.
In 1796 he had removed from St. Martin's Lane, and seems to
have given up publishing, for on Bunting's first Collection of
Irish Music, issued by Preston in this year, there is stamped,
"Engraved by Thos. Straight, No. 7, Lambeth Walk, Surrey."
Te2f2f Thomas. 73' Cheapside. A well-known book-
seller and literary publisher. He
issued many small volumes of songs, including (about 1818-20)
the first and second series of " Tegg's Social Songster. In
1825 he commenced a series of song books in octavo, which
125
had the airs attached printed from type. The first is " The
Skylark," 1825; followed by "The Thrush," 1830; "The
Nightingale," and "The Linnet," 1831. The firm afterwards
(about 1833) became Thomas Tegg & Son, at the same
address.
Thompson, Peter, Peter Thompson was the
j , • o „ founder of the important
and his Successors. business carried on £ y the
Thompson family for half a century. They were the last
survivors of the music trade which once thronged St. Paul's
Church Yard, and their place of business had very likely been
one of the shops held by members of the trade a century or
more previously.
Thompsons' shop was at the North West corner of St.
Paul's Church Yard ; it was afterwards numbered 75, and
I believe was situate near an opening into the West end of
Paternoster Row. In its earliest days the sign of the house
was the " Violin and Hautboy," or "The Violin, Hautboy,
and German Flute," as some imprints give. The sign, how-
ever, was seldom used after the death of Peter Thompson, and
the address at first being merely "West end of St. Paul's
Church Yard " ; was afterwards invaribly given as "75, St.
Paul's Church Yard."
Peter Thompson was certainly publishing in 1751, though
there is rather a puzzling entry in the directory of 1754 —
"Peter Thompson, chocolate maker, St. Paul's Church Yard."
This might suggest that he combined the two trades, or it is
not unlikely that it is a mistake of compiler or printer.
Absolutely the earliest book with Peter Thompson's
imprint which I have yet seen to definitely fix a date is his
yearly set of Twenty-four Country Dances for 1755; in the
British Museum. As this begins at dance No. 97, page 49, and
ends with dance No. 120, page 60, it is pretty evident that the
yearly dances commenced with those for 1751. About this
time Peter Thompson published octavo instruction books for
the violin and other instruments, and continued the yearly
dances to 1757-8 when the seven yearly sets were gathered
(with some others added) into a volume containing two
hundred dances. This book, numbered volume 1st, has Peter
Thompson's imprint. The yearly dances for 1759 and 1760
have the imprint, Thompson & Son, while those for 1762 have
an "s" added to Son. In 1764, though another plate is engraved
for the title page, yet the imprint is still Thompson & Sons.
The dances for 1764 have now a fresh imprint "Charles &
126
Samuel Thompson," and this continues for some years ; it may
now be assumed that Peter is dead. An imprint, however, on
an early work in my own library leads me to suppose that
Peter Thompson must have died about 1758, and that his
business was then carried on by his eldest son, Charles, and
his widow, Ann, so that the imprints Thompson & Son and
Thompson & Sons refer to the widow and her sons. I think
too that she must have died or retired before 1764. The work
with the imprint I refer to is " Thirty Favourite Marches,
which are now in vogue... London, printed for Chs. & Ann
Thompson, at the Violin and Hautboy, in St. Paul's Church
Yard," 8vo. The contents and style of this book certainly fix
it about 1758-59. The Ann Thompson is also most assuredly
not the person of the same name who afterwards entered the
firm.
Charles and Samuel Thompson, the two brothers, when
they got the business into their own hands made very rapid
strides, and while previously the publications had been mostly
confined to small dance collections, tutors, etc., much more
important works are found bearing their names. They
acquired some plates or copyrights of John Simpson's and re-
published Lampugnani's Sonatas, Burk Thumoth's Irish and
Scotch, and Irish and English collections were also reprinted
by the Thompson family.
Between 1776 and 1778 Charles Thompson dies or
retires from the firm and Samuel alone holds the business, but
this is only for a very short interval. — Hook's songs for 1778,
as well as the directory for 1779, gives the firm as Samuel &
Ann ; this latter, it may be easily imagined, is the widow of
Charles — she is certainly not the Ann Thompson of the imprint
circa 1758-9.
In 1780, Peter, who may be a son of Charles or of Samuel,
and a grandson of the original founder, is added to the firm,
which now stands as Samuel, Ann & Peter, and the business
prospers still more. In 1792 it is Samuel, Ann, Peter, and
Henry, and in 1795 Peter drops out, leaving Henry in his
place. In 1796, Samuel has disappeared and the house is
styled Henry & Ann Thompson. This continues till 1799,
when Henry alone remains until the year 1802. Shortly after
this date Purday & Button have sole possession and are pub-
lishing from the Thompson address in 1805-6.
The directory and the yearly sets of Country Dances give
the changes of the Thompson family very fully, and for the
reader's convenience I will repeat these in tabular form com-
127
piled from the above authorities and from other sources equally
reliable. I do this the more readily as so much misapprehen-
sion exists regarding the family's business history. One work
on the violin gives "C. & S. Thomson (sic). 1720-48," and
"Thomson & Son, S. & P., 1764." I also remember to have
seen a violin label of Samuel, Ann, and Peter Thomson with
a M.S. date altered into 1748 ! — it could by no possibility be
before 1779. I am afraid that foolish and unscruplous dealers
and owners who have thus tampered with fiddle labels have
done much to muddle the history of violin making. It is
fortunate that directories and music books, which contain
more reliable data, still remain.
The Thompson Firm.
Peter Thompson, from before 1751 to 1758
Charles & Ann ... circa 1758
Thompson & Son ... ,, 1758-9 to 1 760-1
1761-2 to 1763-4
1764 to 1776-8
1778
1779-80 to circa 1794
1792
1795 to 1796
1796 to 1797
1798-9 to 1802-4
Thompson & Sons...
Charles & Samuel...
Samuel & Ann
Samuel, Ann, & Peter
Samuel, Ann, Peter, Henry ,,
Samuel, Ann, & Henry,
Ann & Henry
Henry
As it is impossible to tell the precise month when the
London directories were compiled, or Thompsons' dances pub-
lished, some trifling allowance must be made upon this
account, otherwise the list will, it is believed, be found ap-
proximately correct. It may be mentioned that the musical
directory for 1794 gives Samuel & Peter, the omission of Ann
is probably accidental. The London directories, and all dated
imprints, confirm the above list. The later imprints after
1790 do not generally give the names or initials of the family
but merely " Messrs. Thompson."
As before mentioned the earlier publications issued by
Peter Thompson are mostly small dance collections, violin
tutors, etc. Charles & Samuel, in addition to this class
of music, published sheet songs and folio collections of
songs, such as those sung at Vauxhall, etc. Their names
are also attached to instrumental pieces, and to at
least one opera, while they re-printed one or more works
originally published by Oswald. S., A., & P. Thompson
followed up with similar work, but about the year 1795 much
of the old prestige and vigour seems to have been lost
128
and their publications are comparatively few in number.
Button & Whittaker, in their day, revived to some degree
the old character of the house.
The Thompson family purported to be musical instru-
ment makers, but though fiddles have their label, I think it
doubtful whether any came from the house except such as
were made by working makers for sale in the shop. Robert
Thompson, who lived near, and was probably a relation, no
doubt produced more individual work. The following list
merely indicates the type of musical works the Thompson
family published at different periods.
C 1750-5 Compleat Tutor for the German Flute. .. .printed for and
sold by Peter Thompson, musical instrument maker, at the
Violin, Hautboy, and German Flute, the West end of St.
Paul's Church Yard, London, where books of instructions
for any single instrument may be had ; 8vo.
C- I 75 0_ 5 Compleat Tutor for the Violin ; 8vo.
Eight Solos for a Violin and a thorough bass. . . .composed
by Joseph Gibbs, of Dedham, in Essex. .London, printed for
the author and sold by Peter Thompson, at the Violin and
Hautboy, in St. Paul's Church Yard ; folio.
!755 Twenty four Country Dances for the year 1755, with proper
tunes. .. .N.B.— The true, genuine dances will be published
every year in this volume and character, price 6d. . .London,
printed for Peter Thompson, at the Violin and Hautboy, in
St. Paul's Church Yard (Dances 97 to 120 ; pages 49 to 60).
C 1758 Thompson's Compleat Collection of 200 Favourite Country
Dances, performed at Court, Bath, Tunbridge, and all Public
Assemblies. .. .vol. 1st [plate of a company of ladies and
gentlemen dancing] , printed for Peter Thompson, at the
Violin and Hautboy, in St. Paul's Church Yard ; oblong 8vo.
[This volume contains the yearly dances from 1751 (o 1757,
with a few others added. It was reprinted by Charles and
Samuel, and again much later by S. A. and Peter, this last
time printed on both sides of the paper, the first and second
issues being only on one side.]
Charles and Ann Thompson.
C. 1759 Thirty Favourite Marches which are now in vogue set for
the Violin, German Flute, or Hautboy, by the most eminent
masters, price 6d. . .London, printed for Chs. & Ann Thomp-
son, at the Violin and Hautboy, in St. Paul's Church Yard,
where may be had 41 Psalm Tunes, in 3 & 4 parts, & 26
favourite Anthems. .. .by Abraham Adams. 24 Country
Dances, yearly, price, 6d. A collection of Minuets, do., 6d.
30 Favourite Hornpipes.
Thompson & Son.
C. 1759 Six Solos and Six Scots Airs, with variations for the Violin
or Violoncello, with a thorough bass for the Harpsichord ....
composed by Walter Clagget, op 2. .London, printed for the
129
author and sold by him at the Sedan Chair, Great Hart St.,
Covent Garden, and Messrs. Thompson & Son, in St. Paul's
Church Yard.
C. 1759 The Compleat Tutor for the Guittar. .. .printed for
Thompson & Son, at the Violin, Hautboy, and German Flute,
ye West end of St. Paul's Church Yard ; 8vo.
A Favourite Lesson for the Harpsichord or Organ .... by
Frederico Christiano Mohrheim, master of music to the
Cathedral of Dantzick. .London, printed for Thompson &
Son ; oblong folio.
1759 Twenty four Country Dances for the year 1759; Ditto,
1760. . . .Thompson & Son, at the Violin and Hautboy, in St.
Paul's Church Yard ; oblong Svo.
1762-3 Twenty four Country Dances for the year 1762 ; ditto,
1763. .Thompson and Sons; oblong Svo.
Charles and Samuel Thompson.
1764 Twenty four Country Dances for the year 1764 ; ditto, 1770,
to 1774, 1775- • • .printed for Charles and Samuel Thompson, in
1775 St. Paul's Church Yard.
C. 1764 Thompson's Compleat Collection of 200 favourite Country
Dances, vol. II (the yearly dances from 1758 to 1764).
C. 1772 Ditto, volume III (the yearly dances from 1765 to 1772).
A fourth volume of these sets of two hundred dances was added, which
included the yearly dances from 1773 to 1780. Probably a fifth and sixth
were also published, but these two latter I have not seen ; they would
contain the dances down to 1796.
In addition to the country dances, yearly sets of Twelve Minuets were
issued, and collected into volumes of one hundred, all in oblong Svo. One
or two volumes and sets of hornpipes also came forth.
C. 1765 Thompson's Compleat Collection of 120 Favourite Horn-
pipes ; oblong 8vo.
C. 17C5-6 The Compleat Tutor for the Violin. . . .C. & S. Thompson,
at the West end of St. Paul's Church Yard ; 8vo.
Six Sonatas for two Violins and a thorough bass. . . .com-
posed by Sigr. Lampugnani.
(Many other instrumental works have the imprint of C. & S.
Thompson.)
C. 1772-3 The Songs and Masque in the Pantomime of Trick upon
Trick, as performed at Sadler's, Wells, composed by James
Hook ; folio.
1773 A Collection of Songs, sung by Mr. Vernon, Mrs. Weich-
sell, and Miss Wewitzer, at Vauxhall. . . .composed by James
Hook, 1773 ; folio.
T774 Ditto, 1774, and a Second Collection, 1774 ; folio.
C. 1775 The Duenna or Double Elopement, a comic opera; oblong
folio, and oblong 4to (by Linley, acted 1775).
C. 1776 A Collection of Catches and Glees.... by L. Atterbury ;
oblong folio.
130
Samuel & Ann.
1778 A Second Collection of Songs, sung at Vauxhall. . . .com-
posed by James Hook, 1778. . . .S. & A. Thompson, 75, St.
Paul's Church Yard ; folio.
C. 1773 The Loyalist, wrote by a friend to ihe King and Constitu-
tion. .London, printed for S. Thompson & Co., 75, St.
Paul's Church Yard; sheet song, with portrait of George III,
folio.
C. 1779 Admiral Keppel Triumphant, half sheet song, relative
to Keppel 's trial by Court Martial, held January, 1779.
Samuel, Ann, & Peter.
C. 1779 The Camp, an Entertainment. .. .composed by Thomas
Linley (acted at Drury Lane, 1778) ; oblong folio.
1781 Collection of Songs, sung at Vauxhall Gardens. .. .com-
posed by James Hook, 1780, S., A. & Peter Thompson ; folio.
C. 17S1 The Overture, Songs, and Duets, in the Pastoral Opera of
the Gentle Shepherd (T. Linley's version, acted 1781).
C. 17C6 Songs, Duets.. of the Historical Romance of Richard
Cceur de Lion. . . .by Mr. Linley ; oblong folio.
C. 1789 The Hibernian Muse, a collection of Irish Airs; oblong
4to.
C. 1759 The Caledonian Muse, a collection of scarce and favourite
Scots Tunes ; oblong 4to.
C. 17S9 Thompson's Pocket Collection of Favourite Marches, 2
books ; small oblong.
Thompson's Pocket Companion for the German Flute, at
least 4 vols. ; small oblong.
Ditto, for the Violin.
C. 1790 Apollonian Harmony, a collection of Glees, Catches,
Madrigals. . . . Six Volumes ; large octavo.
The yearly dances, and minuets, sheet songs, and a vast quantity of
other publications.
Henry Thompson.
C. 1799 Psalmodia Evangelica, a collection of Psalm and Hymn
Tunes.... by Thcs. Williams, 3rd edition, vol. II; Henry
Thompson, 75, St. Paul's Church Yard ; oblong 8vo.
Many of the imprints after about 1790 merely give "Messrs.
Thompson," or "Thompsons' Warehouse."
Thompson, Robert. Was probably brother or other
relative of Peter Thompson.
Robert seems to have been more of a musical instrument maker
than a music publisher. His shop was at the corner of Paul's
Alley, with St. Paul's Church Yard, with the sign "The Bass
Violin." A fiddle label of his is said to bear the date 1749,
with the address Paul's Alley and his sign. The London
131
directory makes no mention of him till 1 768, when he is entered
as " Musical instrument maker, No. 1, Paul's Alley." His
name continues as thus till 1 771, when he has removed to 8,
Lombard Street, and this new address remains up to the year
1 781 or a year or two later.
I have seen but one musical publication having his
imprint, a half sheet song, in my own library, and in date
about 1755; it is entitled "The Fair Thief, set by Mr.
Worgan, and sung by Mr. Lowe, at Vauxhall ; it begins
"Before the urchin well could go."
As Robert Thompson's sign, the Bass Violin, is very
similar to the younger Daniel Wright's emblem, the Golden
Bass, and as Wright had his shop in St. Paul's Church Yard
also, Thompson might perhaps have succeeded to Wright's
place of business.
ThorowgOOd, Henry. Flourished about 1760 to
1765. He had a music
shop at the sign of the Violin and Guittar, at No. 6, under the
North Piazza of the Royal Exchange. He made and sold
fiddles and possibly other instruments. His publications are
not very numerous and seem to range very close together in
date (about 1765); they include "Thomas and Sally, opera
by Dr. Arne " (acted 1760), folio, circa 1765; "The Maid of
the Mill" (1765), oblong 4to ; "Artaxerxes" (acted 1762),
oblong 4to ; "Twelve Airs, for one and two Guitars, composed
by John Parry Harper to their Majesty's," oblong 4to, circa
1765; "Comus"; "A Collection of Songs... sung at Vauxhall
...composed by Samuel Jarvis," book 1st, folio; "Three
favourite Lessons for the Harpsichord by Mr. Burton,"
oblong folio ; "Twelve Scotch and Twelve Irish Airs, with
variations, set for the German Flute, Violin, or Harpsichord
by Mr. Burk Thumoth," octavo, re-printed from Simpson's
original plates, with the second book of the same containing the
English and Irish airs. Other works advertised on his title
pages are : — "Galleotti's Sonatas," " Zannetti's Solos," "Stock-
ing Cantata," " Cymon and Iphigenia," "Spadino's Minuets and
Lisbon's Minuets," 1 stand 2nd books. His shop was probably
taken over about or before 1770, by Maurice Whitaker, whose
address " Under the Piazza, near the North Gate of the Royal
Exchange," seems sufficiently like that of Thorowgood's to
be identical.
Tracy, E. According to "A Catalogue of Books,
printed and published in London in Easter
Term, 1699," he published ; — "An Introduction to singing of
132
the Psalms, in two parts, Bass and Treble ; with a collection
of the best tunes now in use, by William Webb, Philo. Mus.
...printed for E. Tracy, at the Three Bibles, on London
Bridge."
Turnbull, "Walter. Succeeded to the business
founded by George Smart, at
331, Oxford Street; this was sometime close upon 1805. He
published much sheet music, including Italian vocal pieces in
folio and in oblong folio. He issued also a series of country
dances, one of the yearly sets of twenty-four for the violin is
for the year 1806. He was at 331, Oxford Street, in 1810.
TVther, John. His address was "facing New Broad
Street, Moorfields," a rather out of
way place of business. He published about 1740-50 a work
in octavo, "The Fiddle, new Modelled," by Robert Crome,*
and in 1746 a handsome quarto volume of songs, with engraved
pictorial headings to each song. This was " Amaryllis, being
a collection of such songs as are most in vogue, in best
esteem, and particularly sung at the public theatres and
gardens London, published according to Act of Parliament
by John Tyther, facing New Broad Street, Moorfields, and
M. Cooper, Paternoster Row, 1746," 4to. This work was
again issued by Tyther with an additional volume, and the two
volumes were re-issued by J. Lewer, who succeeded Tyther at
Moorfields. Still another later edition was published by
Longman & Lukey and possibly afterwards by Longman &
Broderip.
Another musical work (not illustrated) is " Six Solos for
the German Flute, Violin, or Harpsichord ; the first three
composed by Mr. Burk Thumoth, the three last by Sigr.
Canaby, London, printed and sold by John Tyther facing New
Broad Street, Moorfields, of whom may be had the songs and
duets in Baucis and Philemon, with the overture in score
by Mr. Prelleur," folio. He also published single songs.
Some half sheet ones in my own possession have his name
and address at the foot of each — " The Tipsey Lovers, set by
Mr. Crome," " In Praise of Wine, to a new favourite gavott,"
"On Greenwich Park, the words by Mr. Young, set to music
by Mr. Jackson."
Tyther's publications are not frequently found and they
must have been few in number. He probably ceased business
about 1760, and was succeeded at his address by J. Lewer.
* There is also an edition of this published by David Rutherford,
m
Vache, S. A music seller and probably a publisher of
sheet music in St. Alban's, Street, Pall
Mall. His name is among other music sellers on a sheet
song published about 1782 : "A very favourite Song sung by
Miss Romain, in an entertainment called the Talisman, per-
formed at the Royal Circus; composed by C. Dibdin, printed
by John Welcker and sold by J. Bland S. Vache, St.
Alban's Street, Pall Mall Smart, the corner of Argyle
Street and Fentum, the corner of Salisbury Street, Strand."
I have seen no other publication bearing his name.
Vautrollier, Thomas. A Frenchman _ who came
either from Paris or Rouen
about the beginning of Queen Elizabeth's reign. He settled
in Blackfriars and first commenced printing about 1570. In
1574 he printed, what is probably the first treatise on music
in English, " A Briefe Introduction to Musicke," octavo, by
P. Delamotte. The book is mentioned in several bibliogra-
phical works, but as yet I have been unable to discover if a
copy still exists. In 1575 he printed for William Byrd,
"Cantiones quae ab Argumento Sacrae Vocantur," copies of
which are in the Music School, Oxford, and in the library of
Gresham College. In this work Byrd's patent grant is first
printed.
Verey, G. Great May's Buildings, St. Martin's Lane.
He was a music seller and a publisher in a
small way of business. I have seen nothing more important
of his than sheet songs, which are not very well engraved.
He was publishing about the year 1794 and later, and some of
his songs are issued in conjunction with H. Andrews. About
1802-3 Verey seems to have given up business and his plates
appear to have gone to Andrews, who erased the former's name
and stamped his own in its place, with the address n,
Kendall Place.
Vogler, John & Gerard. Music sellers and pub-
lishers who were prob-
ably related to Johann Georg Vogler, a German violin maker,
who flourished at a rather earlier period. John and Gerard
were established in Glasshouse Street about 1770 and published
many half- sheet and sheet songs, most of which are merely
stamped with their initals on the lower corner of the plate.
G. Vogler was composer of a song which held a popularity
almost to recent years, " Tell me babbling Echo, or the
Request." This song in its original issue bears the imprint of
1:34
the firm, afterwards it was re-published by Joseph Dale and
later by G. Walker and others. They published "Six
Favourite New Minuets, and a new Cotillion for the Harpsi-
chord, Harp, or Violin, dedicated to the subscribers to
Almacks, by Francis Werner, London, printed for John and
Gerard Vogler in Glasshouse Street, near Swallow Street,"
oblong 4to, circa 1770. Other imprints are "Glasshouse St.,
near Burlington Gardens." Robert Wornum appears to have
succeeded to the Vogler premises.
\Afalker, George. The founder of an extensive busi-
ness which probably began about
1790. His first address was 106, Great Portland Street, and
this soon became 105 and 106, and another early imprint is
106, Great Portland Street, and 9, Brook Street. He is distin-
guished in the directory as a "publisher of music at half-
price," and may possibly be the first to institute the absurd
practice of marking musical works at double the price intended
to be asked. He published a great quantity of sheet music of
all kinds, ranging from Handel to the popular Vauxhall lyric.
About 1822 he took other and additional premises at 64, Bur-
lington Street, and in 1S24 he appears to have entirely
removed to 17, Soho Square, where, as George Walker & Son,
the firm existed for some time.
Besides the popular songs of the day, George Walker
issued a series of country dances for the pianoforte, in folio.
This reached to at least 38 numbers, No. 4 being dated 1804,
No. 16, 1808, and No. 38 published after or about 1814.
Another series was one of Scotch vocal music, sold also in
single songs, folio, each book contained three or four songs,
and there was a separate title to each book — " Walker's collec-
tion of Popular Scotch Songs for the pianoforte or German
flute, printed for G. Walker, No. 106, Great Portland Street,
book 1," folio (water mark on paper 1812). A corresponding
Avork was a set of English Songs, some of these, like much of
Walker's music, have the imprint, " printed by the Polyhym-
nian Company, and sold wholesale by G. Walker, 106, Great
Portland Street." Most of Walker's music is printed on a
blue tinged paper then in great use.
Walsh, John, senr. John Walsh, father and son,
were the largest and most
eminent of music publishers during the eighteenth century.
For seventy years they held a monopolising position and were
in their century what the Playford family had been in the
preceding one ; with the distinction that while it might be
135
within reasonable possibility to number the publications of the
Playfords, those of the Walshs' are practically countless,
though nevertheless a bibliographical list (even if imperfect)
and a carefully compiled history of the latter's business history
would be a most desirable work.
Mr. Husk, in Grove's " Dictionary of Music and
Musicians," states that the first John Walsh commenced
business about 1690 at the "Golden Harp and Hoboy," in
Catherine Street, but that in 1698 the epithet "Golden"
was dropped. That he commenced stamping pewter plates in
1710 (this date is Hawkins'), and before his death had resigned
an appointment of music seller and instrument maker to the
King, which he had obtained, to his son.
I have not been able altogether to verify some of these
statements, though do not doubt that Mr. Husk had some
authority for making them. Walsh was certainly in busines
in 1696, and no doubt had been some years prior. With
regard to the royal appointment I imagine that Walsh, senior,
did not abandon it to his son or retire from business during his
life. One contemporary announcement of his death states
" Music printer to the King." It is of course a matter of little
importance and not likely to be ever easily settled, for I am
given to understand that the official books which showed these
matters are not now in existence. The imprint, " Golden Harp
and Hoboy," is undoubtedly a very early one, but Dr. Croft's
Sonatas, 1700, shows it was in use two years after the time
Mr. Husk gave for its discontinuance ; so also in a copy of
the opera " Arsinoe," acted in 1705. As in the case of other
publishers the epithet was probably more a matter of period
and accident rather than definite date.
As before stated the very earliest year I can fix for John
Walsh is 1696, in which year he was publishing and even
then held his royal appointment. " A Catalogue of Books,
printed and published in London, Trinity term, 1696, there is
entered " A Collection of new Songs, set by Mons. Nicola
Matteri ; made purposely for the use of his scholars fairly
engraven on Copper Plates : the first book ; printed for J. Walsh,
musical instrument maker in ordinary to his Majesty, at the
Harp and Hoboy, in Catherine Street, in the Strand, and Mr.
Hare's, in Freeman's Yard, in Cornhill." This work is in
folio, and a copy of the first and second book was sold, bound
up with others, in Dr. Rimbault's sale 1877. Another
seventeenth century work in the library of Mr. Taphouse
shows a variation in spelling the name which is printed as
136
"Welch." The title and imprint is: — "Single Songs and
Dialogues in the Musical Play of Mars and Venus, performed
with the Anatomist or Sham Doctor ; set to music by Mr.
Finger and Mr. John Eccles : London, printed by J. Heptin-
stall ; for the authors, and sold by John Hare, musical instru-
ment seller, at the Golden Violin, in St. Paul's Church Yard,
and at his shop in Freeman's Yard, in Cornhill, and by John
Welch, musical instrument maker in ordinary to his Majesty,
at the Golden Harp and Hautboy, in Catherine Street, against
Somerset House Water Gate, in the Strand, 1697," folio.
Still another publication belonging to this early period is : —
" Six Sonatas or Solos, three for a Violin, and three for the
Flute, with a thorough bass for ye Harpsichord, Theorboe, or
Bass Viol : Composed by Mr. William Crofts, and an Italian
Mr. : London, printed for and sold by John Walsh, musical
instrument maker in ordinary to his Majesty at the Golden
Harp and Hautboy in Katherine Street, near Somerset House,
in ye Strand, and John Hare, musical instrument maker, at ye
Golden Viol, in St. Paul's Church Yard, and at his shop in
Freeman's Court, Cornhill, near ye Royall Exchange, 1700;
price two shillings, where is sold ye weekly song, published
every Thursday," folio.
It would not require a very great stretch of imagination to
suppose that John Walsh (or W'elch) was an Irishman, or at
any rate of Irish extraction. From his royal appointment it is
pretty certain, as things went, that he would be a Protestant,
and had probably found favour with King W 7 illiam himself or
with court officials from making or supplying military musical
instruments to the army. This of course is pure supposition.
His appointment as royal music seller seems to have come
later, and both were renewed through the reigns of Queen
Anne, George I and George II, or as much of the latter as
Walsh lived to enjoy. As to its continuance to his son I am
doubtful.
After 1700 Walsh's business rapidly increased, John
Playford was dead, and Henry Playford did not long survive
his father, so that Walsh had few rivals of importance. The
chief of these were J. Cullen, John Young, Richard Meares,
and Daniel Wright; afterwards Cluer, Cooke, and others came
into the field. With Hare he had combined, and W'alsh's
position to the westward and his royal patronage would of
course be helpful towards building up the immense business
he did. His connection with John Hare dates from his first
commencement in the trade and lasted through the life-times
137
of Hare and his son — over thirty years — Joseph Hare dying in
1733, the father, John Hare, having died in 1725. In this
business association there are indications of breaks, for many
of the earlier imprints show that Hare's name has been
originally engraved on the plate, but afterwards removed by
the scraper.
Besides Hare another music seller joined with Walsh.
This was P. Randall, who had a shop in Paul's Grave Court,
without Temple Bar, at the sign of the Violin and Lute. The
date for this is 1707-8, but before 171 1 P. Randall seems to
have abandoned his own shop and entered into some kind of
partnership with Walsh, for the imprints give the Catherine
Street address for both names. If we might assume that
P. Randall had married into the Walsh family — say with
Walsh's daughter — it might, in some degree, account for his
presence on the Catherine Street imprint, and also for the cir-
cumstance that a William Randall (possibly his son) was,
on the decease of John Walsh, junior, in possession of the
business. This is of course only guess work, and no doubt an
examination of the registers of some of the neighbouring
churches might reveal more particulars.
Walsh certainly did not lack energy for before 1710 his
published works, that are known to collectors (or any rate to
the present writer) which must bear a very small proportion to
all those issued, are exceedingly numerous and embrace works
of all characters of music, both English and foreign. It is
very likely that he had better facilities for obtaining music
from Holland, Italy, or other places abroad than the other
music sellers, and these works he must have re-engraved for
the English market to his own great profit. Even before
Handel came to England the Italian opera and those on the
Italian model were fashionable. In 1705 operas were per-
formed at Drury Lane, among others " Camilla " — '• Pyrrhus
and Demetrius," "Clotilda," " Almahide," and " Hydaspes"
followed at the same theatre or at the Haymarket. Walsh
quickly published folio editions of these and sold re-prints from
each page as half sheet songs. Handel, when he arrived in
London towards the end of 1710, composed music for a new
opera which had been written for him by Aaron Hill. This was
" Rinaldo," and it was first acted in February, 1711. It was
at once a great success, and Walsh published copies of it as he
had done of the other operas. Hawkins states that by its
sale Walsh cleared ^1,500, possibly a rather exaggerated
statement. It is also said that upon this occasion Handel
138
wrote to the publisher to this effect : " My dear Sir, as it is
only right we should be upon an equal footing, you shall com-
pose the next opera and / will sell it! " Whatever Walsh got
from " Rinaldo," this being Handel's first English publication
it is unlikely that the composer shared greatly in the profits of
sale. Walsh all along is said to have treated Handel very
badly, but it must be remembered that the chief, and strongest
evidence against the publisher, comes from Sir John Hawkins,
who paints both Walsh and his son in the blackest of colours.
But Hawkins himself, as pictured by his contemporaries, seems
to have been a rather pompous and prejudiced man, and how
far these qualities have influenced his judgment in this matter
will probably never be known.
The following extract from his " History of Music" gives
his views on John Walsh. After speaking of Dutch monoply
he says : — " The difficulty of getting music from abroad and
the high duty on the importation of it were motives to an
attempt of a somewhat similar kind in England. Two persons,
namely John Walsh and John Hare, engaged together, about
the year 1710, to print music from stamped pewter plates.
The one had a shop in Catherine Street in the Strand, and the
other kept a shop at the sign of the Viol, in St. Paul's Church
Yard, and another in Freeman's Yard or Court, in Cornhill.
They imported from time to time music from Holland and
reprinting it here, circulated it throughout the kingdom to their
very great emolument. They were both very illiterate men,
neither of them was able to form a titlepage according to the
rules of grammar and they seemed both to be too penurious to
employ others for the purpose. Their publications were in
numberless instances a disgrace to the science and its pro-
fessors, but they got money and no one complained. There
lived about this time one Richard Mears, a maker of musical
instruments, an ingenious but whimsical man ; he had been
bred up under his father to that business and seeing the
slovenly manner in which music was published by Walsh and
Hare and being desirous to participate in so gainful a trade, he
became their rival and proposed to himself and the public to
print in a fairer character than pewter would admit of and to
sell his books at a price little above what they were sold for
by the others. In prosecution of this design he procured of
Mattheson, of Hamburgh, who had married an English
woman, and was besides secretary to the British Resident in
that city, the M.S. of two collections of lessons composed by
him. These he caused to be engraven on copper in a hand-
some character and printed in a thin folio volume. Some
139
years after, Mr. Handel having composed for the practice of
Princess Anne sundry suits of lessons for the harpsichord
made a collection of them and gave it to Mears to print, but
properly speaking it was published by the author's amanuensis
Christopher Smith, who then lived at the sign of the Hand
and Music-book in Coventry Street, the upper end of the Hay-
market. Mears also printed Mr. Handel's opera " Radamistus ''
and " Coriolanus," composed by Attilio. The next under-
taking of Mears was an edition of the works of Corelli ; for the
four operas of Sonatas he had the assistance of a subscription,
the work to be completed in an elegant manner, but Walsh
and Hare damped the sale of it by lowering the price of an
edition published by them some years before. Nevertheless
Mears continued to go on. He printed his opera quinto of
"Corelli" in the same character and undertook to print his
Concertos, but in this work he failed as the first and second
parts were engraven and the others stamped, and that in a
worse character than had been made use of by Walsh and his
colleague. After a variety of projects Mears found himself
unable to stand his ground, he quitted his shop in St. Paul's
Church Yard, and some years after set up in Birchen Lane, he
continued there about two years and then removed to London
House Yard in St. Paul's Church Yard where he died about
1743, leaving a son of Walsh in possession of almost the whole
trade in the kingdom." — Hawkins' " History of Music," p. 801,
Novello's edition.
I have given this lengthy quotation in full as it contains
some particulars of Richard Meares not given under his head-
ing in the present volume. Hawkins certainly shows a rather
virulent prejudice in several particulars and his date for the
conjunction of Walsh and Hare — (1710) — is wrong by at
least fourteen years.
Walsh's music is not more slovenly than his contem-
poraries and as far as execution goes, as we at the present day
turn over any clean crisp copy of a Walsh publication (nearly
200 years old) and compare it with a used piece of music of
to-day, we find that for clearness of reading the old stands
equally with the new, and as for permancy the new is nowhere.
There is surely nothing so deplorable a sight connected with
music as a bundle (always a ragged bundle) of second-hand
modern sheet music printed on the blotting paper-like material
which for some reason is always used for music. Another
reference to Walsh from the same source puts him in a still
more unsatisfactory light. Speaking of Geminiani : — " The
140
M.S. of his opera Seconda had been surreptitiously obtained by
Walsh, who was about to print it, but thinking it would be better
for the corrections of the author, he gave him the alternative of
correcting it or submitting it to appear in the world with such
faults as would have reflected indelible disgrace on the author.
An offer of this kind was not less than an insult, and as such
Geminiani received it. He therefore not only rejected it with
scorn, but instituted a process in Chancery for an injunction
against the sale of the work, but Walsh compounded the matter,
and the work was published under the inspection of the author.
The opera Terza he parted with for a sum of money to Walsh,
who printed it and in an advertisment has given the lovers of
music to understand that he came honestly by the copy.
An extract from " The Life of Handel," by Victor
Schcelcher, 1857, p. 91, is, I believe, the only other personal
record of Walsh. The writer of the " Life " chanced to meet
Mr. John Caulfield, then 83 years of age, whose father had
been apprenticed to Walsh (whether to the senior or junior is
not stated). Caulfield had heard from his father that " Walsh
who was extremely rich, very parsimonious, and so suspicious
that he would sometimes leave pieces of gold upon the desk in
order to test the honesty of his clerks and workmen, gave
twenty guineas to Handel for each oratorio he printed." Caul-
field also remembers his father to have said that after the per-
formance of the " Messiah," W T alsh demanded the M.S.,
sending the usual twenty guineas, but that the composer -would
not accept it, but would rather have it unpublished than receive
so smail a remuneration. For this reason it is stated that the
" Messiah " remained unpublished in its entirety until Randall
& Abell's time, who issued it about 1768. Whatever bad
terms Walsh offered, the bulk of Handel's work w T as first pub-
lished by him, though in two or three cases the composer
either published his works himself or let Meares and Cluer do
this. At a later date Walsh and his son seemed to have the
entire monopoly.
During a certain period, the commencement of which I
have not been able to definitely fix, Walsh, senior, affixed
numbers to his publications; these appear to be consecutive
and indicate a date of publication. I have notes of works
bearing numbers between 58 and 683,* and ranging in date
from probably about 1725 to 1736-7, for after the senior
Walsh's death the son does not appear to have long continued
the numeration ; it is also pretty certain that the elder pub-
lisher did not by any means number all his publications during
* Mr. W. Barclay Squire kindly forwards me a list of sixty or seventy
of these numbered publications.
141
his period. According to Dr. Burney it was John Walsh who
first found out that dated music was bad from a commercial
point of view — that old music was as unsaleable as old
almanacks, and that " women and music should never be
dated." This dictum has caused more bewilderment in
musical matters than can be well reckoned up. We can only
be thankful that the Playford family honestly and fairly gave
the year of publication on their works. But at the present
day, though it requires some degree of consideration, it is not
altogether impossible to arrive at a tolerably satisfactory date
for a piece of Walsh's music. If numbered, the number itself
will show that it may be generally considered as earlier than
1736-8, and as much before as the number itself might
indicate. Further, the mention of the royal appointment of
music seller, &c, to his or her majesty pretty well proves that
a piece with this imprint has been issued during the life of the
elder Walsh. I venture to think that this royal patronage
was never extended to the son, for with one exception, which
might be accounted for by the use of an old plate, 1 have
never seen any work with this following the name that could
be satisactorily referred to the son. Another particular which
may be worth while noting, as tending to fix a date, is the
different spellings of the name of the street. In the very
earliest imprints it is spelled as in the modern way,
" Catherine," varied with " Katherine," but while these two
modes of spelling were used more or less indifferently at the
same period, I cannot recall any imprint where the K is used
later than 1718-20, though it was very generally used by
Walsh about 1705 to 171 5. At a certain later date, during
the son's time, and from about 1745 to 1760, " Catharine " is
spelled with a centre " a " instead of an " e."
The premises in Catherine Street were not numbered
during their occupation by the Walsh family, but as shown by
several of Randall's imprints they were afterwards numbered
13 in the street, and probably this number would hold good to-
day for their site. It has been stated that the "Echo" office,
which is No. 22, is Walsh's old shop, but this opinion I do
not share. No definite proof is offered except the fact that the
frontage of the building shows certain musical emblems which
a vivid imagination has turned into a harp and a hautboy. I
think an impartial examination will show that these ornaments
are of a more recent date than Walsh's time. They consist
of a bas-relief, formed either of plaster or terra cotta, repeated
in duplicate over two windows. Their design is plainly a con-
142
ventiorial lyre backed by Apollo's rays, and with a wreath or
foliage of bay at the foot of the lyre. The two lower windows
are ornamented with trophies of helmets, flags, etc. The
whole frontage is Victorian stucco, and it is acknowledged that
the building was first a dancing academy, and about 1842 and
later a theatre. There is every reason to suppose that the
designs are of this period, and would be just the ones considered
appropriate for such an edifice.
By whatever means the elder Walsh acquired it, he died
leaving a fortune. As recorded in the "Gentleman's Magazine,"
his death took place on March 13th, 1736, worth (as the same
authority tells) £"30,000. The business was, of course, left to
his son bearing the same Christian name. John Walsh,
senior, is said to have been the first to stamp pewter plates for
music instead of using engraving, the date for this is fixed at
1 710, but the statement (which appears to have originally
emanated from Hawkins) is too indefinite to altogether accept
without some examination.
As it is manifestly impossible to give, within the limits of
the present volume, a satisfactory bibliographical list, the
early or more curious of the father's works are here recorded,
with some few notes as to his general pieces.
In the early time many of his title pages are elaborately
engraved, as " The Monthly Mask of Vocal Music," etc., others
also have title-pages so arranged as to serve for many works as
the centre is left blank and a separate plate used for letter-
ing. There are at least four which were thus made available,
three being folio and the other in oblong 4to. One of the
most beautiful of the Walsh title pages I have seen is that to
Spenser's " Amoretti," by Dr. Greene, a copy being in my
own library. At a later date both father and son contented
themselves with plain boldly lettered titles, strong and deeply
engraved. With the exception of probably less than half-a-
dozen smaller works, the Walsh publications are from etched,
engraved, or stamped plates. I think that much of the early
music work of all publishers was produced by etching with
acid, a general touching up with the graver following. It would
be by far the easiest method, and I think there is every indic-
ation of it.
As before mentioned Walsh, senior, published most of
Handel's music composed before 1736, and his son continued with
the rest as it was written. The elder also issued many of the
Italian operas before Handel's arrival in England. He pub-
lished also great quantities of Sonatas, Concertos, etc., by all
the leading musicians, and hundreds of single half-sheet songs
143
He early commenced to issue yearly sets of twenty four country
dances, and these also collected into larger volumes. The
dances were issued in regular order right down through
Randall's time, all printed in oblong 8vo. The collected
volumes, which contained a re-issue of the yearly sets, were at
first named " The New Country Dancing Master," and after-
wards " The Compleat Country Dancing Master." Two
books bearing this latter title were printed from type in 1718
and 1 71 9, and issued in the precise style of the later copies of
Playford's " Dancing Master " ; the contents in fact were
almost identical and no doubt intended to intercept the sale of
the original, Walsh more than once, in his early time,
copied Playford's books so far as title was concerned more or
less closely, as : — " The Division Violin," and " The Lady's
Entertainment or Banquet of Music. Yearly minuets were
also issued serially and sets of " Caledonian Country Dances,"
in oblong i6mo.
1696 A Collection of new Son^s, set by Mons. Nicola Matteis,
made purposely for the use of his scholars. .Fairly engraven
on copper plates, printed for J. Walsh, musical instrument
maker in ordinary to his majesty at the Harp and Hoboy, in
Catherine Street, in the Strand, and Mr. Hare, in Freeman's
Yard, in Cornhill, 1696, 1st and 2nd books, folio.
A copy sold at Rimbault's sale.
1700 Six Sonatas or Solos. .. .Composed by Mr. Wm. Crofts
and an Italian Mr London, printed for and sold by
John Walsh, musical instrument maker in ordinary to his
majesty, at the Golden Harp and Hautboy, in Katherine
Street, near Somerset House, in ye Strand, and John Hare,
musical instrument maker, at ye Golden Viol, in St. Paul's
Church Yard, and at his shop in Freeman's Court, Cornhill,
near ye Royall Exchange, 1700, folio.
C. 1700 Bononcim's Ayres in three parts, as Almands, Corrants,
Preludes, Gavotts, Sarabands, and Jiggs, with a thorough
bass for the Harpsicord. ... London, printed and sold by
I. Walsh, musical instrument maker in ordinary to his
majesty, at the Golden Harp and Hoboy in Catherine Street,
near Somerset House, in ye Stand, and I. Hare. .. .at the
Golden Viol, in St. Paul's Church Yard, and at. .Freeman's
Yard, oblong folio. (Taphouse.)
C. 1705 Select Preludes and Volientarys for the violin, being made
and composed for the improvement of the hand, with variety
of compositions by all masters for that instrument
printed tor I. Walsh, servt to her Ma'tie, at ye Harp and
Hoboy, in Katherine Street, near Somerset House.... and
I. Hare, at ye Golden Viol, in St. Paul's Church Yard, or at
his shop in Freeman's Yard, oblong 4to. (Glen).
C. 1705 The first part of the Division Violin, containing a collec-
tion of divisions upon several excellent grounds and chacons,
by ths most eminent masters .. (same imprint), oblong 4to.
(Glen).
144
C. 1705 Songs in the opera called Arsinoe, London, printed for
J. Walsh, servant to her Majesty, at the Golden Harp and
Hoboy, in Katherine Street, near Somerset House, in the
Strand.
1707 The Union, Mr. Isack's new dance, performed at Court on
her majesty's birthday, 1707. .. .London, printed for J.
Walsh, at ye Harp (sit), in Catherine Street, and J. Hare, at
ye Viol and Flute, in Cornhill, and P. Randall, at ye Violin
and Lute, without Temple Barr, in ye Strand, oblong 8vo.
(Taphouse.)
1708 Lyra Davidica or a collection of Divine Songs and Hymns,
partly new composed and partly translated from the High
German. . . .engraved on copper plates. .London, J. Walsh,
servant to her majesty, at the Harp and Hoboy. . . . J. Hare
. . . .Golden Viol and Flute, in Cornhill. . . .and P. Randall,
at the Violin and Lute, by Paul's Grave Court, 1708,
small 8vo.
C. 1709-10 The Bottle Companions or Bacchanalian Club, being a
choice selection of merry making songs. .. .London, printed
for J. Walsh, and P. Randall, at the Harp and Hoboy, in
Katherine Street, by Somerset House, in the Strand, and at
the Violin and Flute, by Paul's Grave Head Court, without
Temple Bar, and J. Hare, at the Golden Viol and Flute, in
Cornhill.
1 70S Twenty-four new Country Dances for the year 1708, with
proper new figures or directions to each dance, the whole
fairly engraven and carefully corrected. Note. — The New
Country dancing Master is published containing ye Country
Dances for three years past ; price is. 6d. (woodcut frontis-
piece). Oblong 8vo. (Taphouse.)
171 1 to Twenty-four New Country Dances for the year 171 1....
1718 Note. — The 1st and 2nd volumes of ye New Country Dancing
Master is re-printed, oblong Svo. Ditto for 1713 ; ditto
1714 ; ditto 1716 ; ditto 1718.
These five last named are in the British Museum. On the volume for
1718 is advertised "Note, there is lately published a new edition of the
great dance book containing 364 Country Dances in a new character and
more correct than the former edition." I have not seen any copies of
Walsh's yearly dances between those for 1718 and for 1742, in which latter
the character of the dance book has varied. I have, however, in my own
library a bound collection of 12 yearly dances, evidently issued by Walsh
which must be those dating from about 1728, titlepages are however
absent.
1718 The Compleat Country Dancing Master, containing great
variety of dances, both old and new. .. .London, printed by
H. Meere for I. Walsh. . . .and J. Hare. . 1718, oblong 8vo.
This is the volume advertised above.
1719 Ditto 2nd volume, dated 1719.
(These two are type printed and are practically copies from Pearson
and Young's "Dancing Master."
1731 The Compleat Country Dancing Master, containing a great
variety of dances, both old and new. .1731.
145
(This is a different work ; it is engraved. Other volumes of a book
with this title are the yearly dances bound together. In 1742 and 1745 it
was advertised as being in 3 volumes, and again in 1748 as "containing
1,000 old and new Country Dances in 3 volumes." In 1750 as being in 4
volumes ; in 1765 as in 6 volumes, and on Randall's dances in 1772 as
being in 7 volumes).
C. 1730 Caledonian Country Dances, being a collection of all the
celebrated Scotch Country Dances now in vogue, oblong
i6mo.
(These were in a different shape and style to the others. In 1742
there were 3 volumes or books ; in 1748, 4 volumes ; in 1760, 8 volumes;
in 1765, g volumes, and in Randall's dances they are advertised as being
in 10 books. Four of the earlier sets are in my own library).
Besides these and other volumes of dance music Walsh also published
yearly sets of minuets, afterwards gathered into volumes.
1716 The Merry Musician, or a Cure for the Spleen, being a
collection of the most diverting songs and pleasant ballads ;
Part I, small 8vo, 1716.
(The first volume is type printed by H. Meere ; three other volumes
followed: — the second, circa 1728; third, circa 1730; fourth, circa 1735;
all these latter ones are engraved.
C. 1730 The Catch Club or Merry Companions, being a choice
collection of the most diverting catches for three or four
voices, composed by the late Mr. Henrj' Purcell, Dr. Blow,
&c, 1st part. .London, I. Walsh, servant to his majesty. . . .
(No. 297), oblong4to, and 2nd part (No. 298) ; (An oblong
folio edition, later by John Walsh, Junr).
1734 The British Musical Miscellany, or the Delightful Grove,
being a collection of sixteen English and Scotch Songs....
published for March, 1734 (No. 511) 410.
(This was a monthly publication, afterwards collected, with a fresh
title page, into six volumes.)
Limited space forbids the extension of this list, which
might have included a great number of scarce and curious
publications as well as those that are better known.
Walsh, John, junr. On the death of his father on
J March 13th, 1736, John
Walsh, junr., succeeded to the business, which, well established
then, was pushed forward with even greater vigour than in his
father's day. He continued business relations with Handel and
published all the compositions of this master that were offered
to the public. As before stated, the " Messiah " was an
exception and it did not see the light until Randall & Abell
issued it. The son does not appear to have held the appoint-
ments of music and instrument seller to the sovereign, which
his father enjoyed ; at any rate if he did he does not seem to
have proclaimed this. There is scarcely an imprint of the
146
elder Walsh's that does not mention the royal patronage,
while among the vast mass of Walsh publications which I
examined, I have never seen it used on any but one that can
be considered to be of the son's issue. This solitary exception
is : — " Twelve Sonatas for two Violins... by Wm. Boyce, com-
poser to his majesty, printed for the author and sold by
I. Walsh, musick printer and instrument maker to his majesty
...1747" (Taphouse). It is possible that this imprint may be
due to the use of an old plate re-engraved, or that the original
publication was earlier and re-issued from the older plates,
with the addition of a date in 1747. Whatever be the cause,
the fact remains as above stated.
Walsh, junior, published much the same character of
music as his father, and this was comprehensive enough to
include all kinds. He issued sets of Vauxhall and other songs
by Dr. Arne, and Boyce, under such titles as " Lyra Britan-
nica," "The Agreeable Musical Choice," &c, in several
folio books. He continued the issue of the yearly
sets and the larger collections of Country Dances and
minuets. He published also the operas " Thomas and Sally,"
" Love in a Village," " Midas," with others in oblong folio.
A smaller edition of some of the earlier ballad operas in octavo
include, " The Devil to Pay," "The Jovial Crew," etc. All
these were in addition to a vast quantity of instrumental music
and other miscellaneous pieces.
He died on January 15th, 1766, and was buried, as his
father doubtless was, at St. Mary's, in the Strand, on the 21st
as recorded in the following : —
" 1766, January 15th, Mr John Walsh, in Catherine Street, in the
Strand, the most eminent music seller in England. — (Universal Museum,
1766).
January 15th, died Mr. John Walsh, the most eminent music seller in
the Kingdom. .. .January 21st, Mr. John Walsh was interred with great
funeral pomp at St. Mary's in the Strand. It is said he died worth
^"40,000. — (Public Advertiser, 1766).
On the death of Walsh the shop seems to have been
immediately taken over by William Randall and a person
named Abell. Whether Randall was a son of the P. Randall
early associated with the elder Walsh, I am unable to say, but
I would certainly hazard the supposition that there might be
some connection by marriage between the Randall and the
Walsh families, which would account for so valuable a busi-
ness being handed over to him. So with regard to Abell,
which might be the married name of a daughter of the elder
Walsh's. Some search in the parish registers of St. Mary's
night reveal this more fully.
1-17
Randall & Abell no doubt contented themselves with
merely selling the old stock or re-printing, for I have only
seen two imprints of theirs. Afterwards Randall had posses-
sion of the premises alone and at his death his widow held
them till they were taken over by Wright & Wilkinson. With
this latter firm ended the history of this famous house.
^Afa^d, George. Published "A Collection of Favourite
Irish Airs, arranged for the harp or
pianoforte, by S. Holden... London, published by George
Ward, go, Lemon Street, Goodman's Fields, and may be had
of the principal music sellers in England and Ireland" ; folio,
circa 1818 (Glen).
Warrell VV\ A music seller and publisher who gave
his address as " Surrey side of West-
minster Bridge," or " Near Astley's Theatre, Westminster
Bridge." He flourished about 1780 and issued sheet music,
including songs from "The Widow of Delphi" (1780), and
Tom Paine's " Death of General Wolfe." He also published
several small oblong volumes as "Warrell's Pocket Companion
for the German Flute," circa 1785, and another similar one for
the harpsichord. On certain of his publications the firm is
given as Warrell & Co. They printed on the back of sheet
music a lengthy advertisement drawing attention to their
" improved musical instruments, wholesale and retail, and for
exportation, at their manufactories or warehouse." It is, how-
ever, doubtful if they were the extensive manufacturers of
pianofortes, etc., which they here claim. The Musical Directory,
1794, gives: "Warrell, organ builders, 17, Bridge Street,
Lambeth."
^fatkins, Zach. Was for a short time only, about
1665, in partnership with the elder
John Playford, "at their shop in the Temple." (See page 94.)
^Afatlen, John. A composer and music seller who,
having become bankrupt in Edin-
burgh near the close of the century, removed to London,
where he taught " singing and the pianoforte in the tasteful
method." Most of his title pages also inform us that he was
" late of the Royal Navy." It is possible that his first London
address (about 1803-5) was 3» Upper James' Street, Golden
Square, as this is given on a sheet song printed for him at
Edinburgh and sold by the author at the address named. In
1807 he had removed and was again in business, his new
address being 5, Leicester Street, Leicester Square. He pub-
148
lished sheet songs, etc., and claimed to be "patentee of the
oblique pianoforte, so much admired for its full and melodious
tone, the only patent piano now extant" ; he also advertised
that he was "pianoforte maker to the Royal Families of
France and the Netherlands." He probably did not remain
long in this London business. He seems to have had, at a
prior date, some connection with the firm Cobb & Watlen.
(See also his name in the Edinburgh section).
WattS, John. A bookseller and printer in Wild's
Court, Lincoln's Inn Fields. He was
established here before 1726 alone, and in conjunction with
Jacob Tonson published poems, plays and miscellaneous works.
The introduction of the English opera at Lincoln's Inn
Theatre brought Watts a brisk trade in the publication of the
ballad operas performed there. His first musical work
appears to have been an octavo edition of the " Beggars'
Opera," which has the "music engraved on copper plates,"
and is dated 1728. There is also a quarto edition much better
printed and engraved; one marked as the third edition is dated
1729.- After the first publication of the "Beggars' Opera,"
he followed up with "The Quaker's Opera," 1728, and about
thirty others as they were acted ; all in octavo. The operas
have the musical airs inserted in the text over the new song,
while the old name of the ballad tune is retained. The music
is cut in wood and as some of the favourite airs ran through
many of the operas, the same block served over and over
again. The old airs thus preserved in Watts' editions of ballad
operas reach to a great number, and have much interest for
musical antiquaries. His editions of the opera range in date
between 1728 and 1733, after which latter date the ballad
opera began to decline. I have met with but one solitary
exception, " An Hospital for Fools," printed by Watts in
1739. After Watts' death some of the most favourite ones
were reprinted in the same style, with the music apparently
from the same wood blocks, by J. & R. Tonson ; these are
octavo and bear (in the copies I have seen) the date 1765.
The only other musical work published by Watts that I
know is his well known " Musical Miscellany in six volumes."
The first two of these were issued in 1729; the third and
fourth are dated 1730, and the fifth and sixth 1731. All the
music is cut in wood and unlike that in the ballad operas the
airs have basses. In 1750, John Watts was probably dead,
for in that year a bookseller named Wren must have bought
the remaining stock of the " Musical Miscellany," which he
149
re-issued with a fresh name and title page to each volume.
Volume 3 is " The Harp or Musical Miscellany, printed
for and sold by J. Wren, at the Bible and Crown, near
Great Turnstile, Holborn, 1750." "The Spinnet " is Watts'
4th, and " The Violin " the 5th. Benjamin Franklin, when
he first came to London in 1726, worked for a short time as
journeyman in Watts' office.
The following is a list of all John Watts' musical works I
have found, which, with the exception of the " Musical
Miscellany," are all ballad operas or plays, mostly with the
music cut in wood.
1728 The Beggars' Opera, music engraved, also several editions
in quarto.
1728 The Quaker's Opera.
1729 The Provok'd Husband (with 3 music blocks) ; Momus
Turned Fabulist ; Village Opera ; Love in a Riddle ;
Cobler's Opera; Damon and Phillida; Author's Farce,
1730 Female Parson, or Beau in the Sudds ; The Lover's
Opera, 3rd edition ; The Fashionable Lady ; Patie and
Peggy ; The Chamber Maid ; Robin Hood ; Flora.
1 73 1 Silvia, or the Country Burial ; The Jovial Crew; The
Highland Fair ; The Generous Freemason ; The Grub
Street Opera.
1732 Amelia; The Devil to Pay; The Lottery; The Mock
Doctor ; Acis and Galatea.
1739 An Hospital for Fools.
1729-31 The Musical Miscellany, being a collection of songs, set
to the Violin and Flute by the most eminent masters, volume
the first .... Printed by and for John Watts, at the Printing
Office in Wild's Court, near Lincoln's Inn Fields, 1729, 8vo. ;
2nd, 1729; 3rd and 4th, 1730; 5th and 6th, 1731. The
later volumes after the second have basses set to the airs and
a slightly varied title.
Waylett, Henry. At the " Black Lyon," in Exeter
Change ; was probably established
about 1745. He published half-sheet songs, flute and violin
tutors, country dances, etc. He was also a musical instru-
ment maker, or at any rate his name occurs on violin labels.
He was in business in 1749 and 1751, and was succeeded by
Richard Bride, who published " Lovely Nancy, with varia-
tions for the harpsichord, by Mr. Geo. Kirshaw, London,
printed for Richard Bride, at the Black Lyon, in Exeter
Change," circa 1766-70.
C. 1745-6 A New Song in honour of the King of Prussia, set to
music by Mr. Bryan .... Printed for Henry Waylett, at the
Black Lyon, in Exeter Change (half-sheet song; also others
bearing Waylett's name).
150
C. 1745 The Compleat Tutor for the German Flute, .with a choice
collection of ye most celebrated airs. . . .printed and sold by
Henry Waylett, in Exeter Change, 8vo.
Frontispiece of gentleman playing flute, altered from that to Simp-
son's "Delightful Pocket Companion for the German Flute."
C 1745-50 VI Solos for a German Flute, Violin, with a thorough
Bass for the Harpsichord. Composed by Mr. Thos. Davis,
folio (same imprint).
1 75 1 Twenty four Country Dances for the year 1751 (same
imprint), where may be had 24 dances, all by Mr. Thos.
Davis, oblong 8vo.
Wilson's " Compleat System of English Country Dancing" mentions
and gives the contents of Waylett's dances for 1749. (Rev. S. Baring-Gould).
Waylett, Francis. I have only seen one publication
bearing this name. He was
probably a son of the above Henry Waylett, though was at a
different address.
1756 The Muse's Choice, a favourite collection of Songs, set for
the Violin, German Flute, and Harpsichord, by Mr. Joseph
Bryan. Book 1st, London, printed for and sold by Francis
Waylett, at his music shop, opposite Suffolk Street, near
Pall Mall, 1756, folio. (Taphouse).
~\ft/ elcker. This family of music publishers was of some
degree of importance during the last half of
the 1 8th century. The founder of the firm, Peter YVelcker
was publishing in 1769, and no doubt many years earlier.
His shop was in Gerrard Street, St. Ann's, Soho, which was
afterwards numbered 17. He is said to have died in 1775,
but his widow may have kept on the business in Gerrard St.,
probably under the management of James Blundell, who
married into the family and afterwards set up business on his
own account. In 1 776, or prior, John Welcker (a son probably)
was in business at 9, Haymarket, opposite the Opera House,
and from here he issued several books of opera dances, etc.
In 1777 the number was changed to 10, Haymarket, and John
Welcker retained this shop until near the end of the year 1780,
when he removed to 18, Coventry Street, leaving the Hay-
market business to James Blundell (his brother-in-law). John
Welcker was publishing at the Coventry Street address in
1785, but I have not ascertained the precise year of the
stoppage of his business. Some confusion may very easily
arise as to the dates of the family's publications, for the
imprints seldom give more than the surname with, or without,
the address. There is attached to Eastcott's Sonatas, which
are dated January 1773, a list of about five hundred publica-
tions " printed for and sold by Peter Welcker. The earliest
151
dated work of his I have seen is Hooks' " Vauxhall Songs
for 1769," folio. His other publications consist in a great
measure of instrumental music by foreign composers, including
John Christian Bach, Giardini, Fischer, Kammell, Vento, and
others. He published also some operas and much Italian and
English music. One publication is notable ; " The Musical
Curiosity, or Tabular system, whereby any person, without
the least knowledge of music, may compose ten thousand
different minuets in the most pleasing and correct manner, a
real curious and pleasing work, price 2s. 6d." This very
desirable half-crown's worth was revived a few years ago for
the production of waltzes and polkas, a quantity of cards, each
holding a sequence of notes and arranged at will is the whole
secret of so prolific a composition. Peter Welcker' shalf- sheet
songs are frequently merely stamped P. W.
John Welcker's publications include a number of collec-
tions of dances, danced at the Opera House, ballets, &c,
generally in oblong quarto. He also added a fourth volume
to " Clio and Euterpe," and re-published the other volumes
from the old plates. He of course issued other works of much
the same character as his father's.
WeSSel & Stodart. They were principally importers
of foreign music, but published
sheet music on their own account from Rossini's Operas, &c.
Their address in 1824 was 1, Soho Square.
Wheatstone, Charles. Published sheet music, &c,
towards the end of the 18th
century, though the firm Wheatstone & Co. is said to have
been first established about 1750. Three early addresses of
his are 83, St. James Street, near the Palace, 14, Corner of
Castle Street, Leicester Square, and 3, Bedford Court, Covent
Garden. I cannot fix the position, in regard to priority, of
these ; they probably stand as here set down, but he could not
have been very long at either address. They each occur on
sheet music published near the junction of the two centuries.
In. 1806 the directory shows that he had removed to
436, Strand, and from there most of his work issued. In
1 81 5 the firm was Wheatstone & Co., and the directory gives
the same address until at least 1830. The firm is said to have
been at 20, Conduit Street, Regent Street, from 1823 down to
to-day. Sheet music and a harp-lute tutor have this imprint.
One of the best known works published by Wheatstone & Co.,
436, Strand, is a collection of Glees and Catches named "The
Harmonist," in nine volumes, large octavo, circa 1805-10.
152
Another companion work in one volume is " The Naval and
Convivial Vocal Harmonist," having a portrait of Nelson on
title, same size and imprint. There were also other collections
of pieces of songs, and much sheet music. Charles Wheat-
stone is said to have been the inventor of the Concertina
which he patented June 19th, 1829.
Another publisher and instrument maker named William
Wheatstone was probably a relative and possibly may have
ultimately become connected with the firm.
Wheatstone, William. Perhaps a relative of the
foregoing. He was a
professor of and a manufacturer of German flutes, in the im-
provement of which he held some patent. In 1821 he was at
128, Pall Mall (in the directory this number is, by a misprint,
made 118), and in 1823 at Charles Street, St. James. In 1825
and 1826 he had removed to 118, Jermyn Street. With the
first and the second named addresses on the imprints he pub-
lished some numbers of " Favourite Melodies of Various
Nations, for the German Flute," large 4-to, circa 1822-3. It is
possible he afterwards became associated with the firm
Wheatstone & Co., as the house in 1853 stands as William
W'heatstone & Co., 20, Conduit Street.
^Afheble, John. A bookseller who at one time printed
and published a "Lady's Magazine,"
in which appeared every month a piece of type printed music.
He also issued a song book (having a few pages of music at
the end) entitled "The New Merry Companion, or Complete
Modern Songster, London, printed for John Wheble, 24,
Paternoster Row," i2mo. In 1795 he had removed to 18,
Warwick Lane, and he remained here until at least 181 2.
Whitaker, Maurice. He followed Henry Thorow-
good at a music shop in the
Royal Exchange, about the year 1766 or 1768. He published
some half-sheet songs which are merely stamped with the
initials M. W., and issued also "A Complete Tutor for the
German Flute... printed for and sold by Maurice Whitaker,
musical instrument maker, under the Piazza, near the north
gate of the Royal Exchange, opposite Bartholomew Lane,
London : where may be had all sorts of musick and musical
instruments, with books of instructions for each," large 8vo.
A copy belonging to Mr. J. Glen has a former owner's name
and the M.S. date, 1773. He probably used Thorowgood's
old plates for the few publications he issued.
153
Wigley, John & Charles. John Wigley was a
music and instrument
seller established in 1786 at 15, Coventry Street, Haymarket.
He was here in 1802, but in 1806 and 1807 he had removed to
11, Princes Street, Hanover Square. His name with the
Coventry Street address occurs with other music sellers on a
small oblong volume "The Gentleman's Pocket Companion
for the German Flute," circa 1799.
Charles Wigley was, in 1802, in a partnership — Wigley &
Bishop, music sellers, at 6, Spring Gardens, Charing Cross.
He was also a jeweller at the same place of business, and in
1806 was in business alone at the same shop which was then
named "The Repository of Fashion." In 181 1 he had
removed to 204, Strand, and from this place were issued three
or more small oblong volumes of songs and airs for the flute —
" Wigley's Pocket Companion for the improved octave
Flageolet, Violin, and German Flute London, printed for
C. Wigley, at his musical instrument manufactory, 204,
Strand," oblong i6mo, circa 1810. In 1812 he had removed
to 151, Strand. In 1794 there was a Wigley, music seller,
in Whitehall.
WilcOX, J. Was at the sign of Virgils Head against
the new Church in the Strand. He pub-
lished in 1737 a treatise on Thorough Bass by J. F. Lampe,
and in 1738 the opera of "The Dragon of Wantley," followed
in 1739 by " Margery." He published also a concerto called
" The Cuckoo," but little else.
Williams, Thomas. Was in business at 29, Tavi-
stock Street, Covent Garden,
and then at 2, Strand, before 1820, where he remained until at
least 1827, publishing sheet music, etc.
There were also others of the same surname in the trade,
whether connected with the foregoing or not I am unable to
say.
L. Williams, 41, Duke Street, Little Britain, published
" Barney Brallaghan's Courtship," sheet song, circa 1825.
J. Williams, 123, Cheapside, corner of Wood Street, pub-
lished a Violin Tutor.
B. Williams had, at different times, many addresses, as
19, Cloth Fair, Smithfield, 30, Cheapside, 11, Paternoster
Row. In more' modern years the firm, B. Williams & Co.,
were still in Paternoster Row. During the forties B. Williams
published a series of small oblong books of airs for the flute,
violin, etc., with the title " Williams' Scrap Book."
154
Williamson, T. G. His address was 20, Strand, and
he flourished about 1790. He
published a collection of " Twelve Country Dances and Cotil-
lions, by Kotswara, printed and sold by T. G. Williamson,
20, Strand," oblong 8vo. (British Museum). This work and
a bound volume of a great number of single sheet songs (in
my own library) each one bearing the imprint " London,
printed and sold by T. Williamson, at his music shop, print
and fancy warehouse, 20, Strand," are the only publications of
his which I have seen.
Willis & Co. J- or I- Willis was a Dublin music
seller and publisher who, up to about
1825, merely employed an agent, M. A. Burke, 22, Southamp-
ton Street, Strand, for his London trade. At this time, how-
ever, a company was formed, who, still keeping on the Dublin
premises at 7, Westmoreland St., established themselves in a
room or rooms in the Egyptian Hall, Piccadilly.
They retained this address until 1827, but shortly after-
wards removed to 55, St. James Street, from whence most of
their publications issued. They published a vast mass of
sheet music, and among larger collections, two volumes of the
" Tyrolese Melodies," which were the songs sung by a family
of Tyrolese singers who came to London in 1827. Moscheles
arranged the music and William Ball translated the songs
into English verse. One of these gained an immense
popularity — "The Merry Swiss Boy," and Willis & Co. sold
it in sheet form with a lithographic vignette at the head. The
song must have brought a fortune to somebody.
There was an Isaac Willis, music seller, at 119, New
Bond Street, in 1853.
Wilson Robert. Published in 1614, "The Maske
of Flowers, presented by the
Gentlemen of Graies-Inne, at the Court of Whitehall, in the
Banquetting House, upon Twelfe Night, 161 3 London,
printed by N.O., for Robert Wilson, and are to be sold at his
shop at Graies-Inne, Newgate, 1614," 4to. There are six
leaves of music at the end. For full title and other particulars
see Rimbault's " Bibliotheca Madrigaliana, - ' p. 43.
Windet John. An Elizabethan printer of repute
who lived at the sign of the White
Bear in Adling Street, near Bernard's Castle. In the year
1594 he was at the Cross Keys, near St. Paul's Wharf. He is
said to have been in business from 1586 to 1651 (Johnson's
" Typographia"), but this is evidently a mistake. From 1592
onwards he printed many editions of Stenhold's " Psalmes "
in all sizes. His other works include: —
1604 Songs of Sundrie Kindes. .. .newly composed and pub-
lished by Thomas Greaves. .. .London, Imprinted by John
Windet, dwelling at Powle's Wharfe, at the signe of the
Crosse Keyes, and are there to be solde, 1604, folio.
1605 The First Part of Ayres, French, Pollish, and others, .com-
posed by Tobias Hume . . 1605, folio. Same imprint.
1606 An Houres Recreation in Musicke, apt. for Instrumentes
and Voices. .. .by Richard Alison.... London, printed by
John Windet, the assigne of William Barley, and are to be
sold at the Golden Anchor, in Pater Noster Row, 1606, 4to.
i6o("> A Booke of Ayres with a Triplicitie of Musicke. .by John
Bartlet. .. .Printed by John Windet, for John Browne..
1606, folio.
1606 The Second Set of Madrigales to 3, 4, or 5 parts, apt. for
Viols and Voices. . . .by Michaell East. . . .printed by John
Windet, the assigne of Wm. Barley, 1606, 4to.
1606 Funeral Tears, for the death of the Right Honourable
Earle of Devonshire... by John Coprario. .. .printed by
John Windet. .for John Browne. .1606, 4to.
1607 Captaine Hume's Poeticall Musicke, principally made
for two basse Viols. . . .Composed by Tobias Hume, London,
printed by John Windet, 1607, folio.
1C07 The Description of a Maske, presented before the Kinges
Majestie at Whitehall, on Twelfth Night last John
Windet, for John Browne, 1607, 4to.
1607 The First Set of Madrigals, of 3, 4, 5, 6, 7, 8 parts for
Viols and Voices. .. .Robert Jones, London, Imprinted by
John Windet, 1607.
For full titles see Rimbault.
Wolfe, John. A notable early printer. He lived at
Paul's Chain and in Distaff Lane, with
a shop in Pope's Head Alley, off Lombard Street, in 1598.
He printed several musical works most or all of which were
versions of the Psalms. They include : — " Musicke of six
and five partes, made upon the common tunes used in singing
the Psalms. ..by John Cosyn," 1585, oblong 4to. Fetherstone's
li Lamentations," 1587, 8vo., and several editions of Stern-
hold's " Psalms."
Womum, Robert. The first Robert Wornum is
said to have been born in 1742,
and to have died in 1815. He succeeded to the business
carried on by J. & G. Vogler, in Glasshouse Street. He pub-
lished from this address some small books of dances including
" Six New Cotillions and Six Country Dances, with three
156
favourite Minuets... by Nicholas Le M aire... London, printed
for R. Wornum, Glasshouse Street, Burlington Gardens,"
small oblong. He is said to have left here for 42, Wigmore
Street in 1777, and is set down in the Musical Directory for
1794 as violin and violoncello maker. He remained at this
address for many years and issued sheet music.
After the death of the elder Robert Wornum, his son of
the same Christian name carried on the business and between
181 1 and 1842 took out several patents for improvements
in the pianoforte, to the manufacture of which he and his
successors principally directed their trade. In 1853 * ne nrm
was at 16, Store Street, Bedford Square, and it is still an
important one in the pianoforte trade.
Wright, Daniel, Though generally considered as
senior & iunior ' 3Ut one ' tnere were tw0 music
J ' sellers of this Christian and sur-
name, father and son, and their publications contain much
curious matter. So far as I may surmise Daniel Wright was
established at the beginning of the eighteenth century, though
the earliest date I can definitely find for him is 1709. His
shop was next door to a celebrated tavern — the " Sun " — the
one in Holborn, for there were two hostelries of that name,
both famous. Wright's shop was at the corner of Brook
Street, between Gray's Inn Lane and Furnival's Inn on the
northern side of Holborn. He styled himself maker of
musical instruments, and no doubt he did a large music
selling trade. Like the rest of the music trade he had engraved
slips, which he pasted over the imprints of music sold by
him but not of his own publication. One of these over a
dance book issued by John Walsh is : " Sold by Daniel
Wright, musical instrument maker, next door to the Sun
Tavern, near Brooke Street, in Holborne, 1709." Wright and
the elder Walsh appear to have been, in a great measure,
rivals, and as Walsh, in his early day, copied more or less
closely the titles of Henry Playford so Wright did the same
by Walsh. Wright for instance issued " The Monthly Mask of
Vocal Music," which is precisely the same title as Walsh used
for a similar work, and Wright for this same work has
engraved a rough copy of one of Walsh's pictorial title pages.
Wright also published a " Merry Musician," and a
British Musical Miscellany, or Delightful Grove," titles which
Walsh had used before him. I have also found that he made
direct copies of the small oblong dance books, which Walsh
issued about 17 14, etc, Did more examples of Wright's pub-
157
lications exist further instances might be pointed out. So far
as I have yet found Daniel Wright, the elder, did not use any
sign or emblem for his shop, though his son, when he set up
in business for himself, used at least two different ones. It is
probable that Daniel Wright, the elder, gave up business or
died sometime near the year 1734. Meanwhile his son Daniel
had, perhaps about 1725, established himself in St. Paul's
Church Yard, at the sign of the "Golden Bass," which may,
or may not, have been the shop J. Clarke and John Hare
had held under the sign "The Golden Viol." For some
years the Wrights' published works in conjunction and these
have the two names and addresses on the imprint. About
1735 Daniel Wright, junior, changed his sign to the " Violin
and Flute." but as he was still on the north side of St. Paul's
Church Yard it is probable that he did not remove from the
premises. I have not found out when he ceased business, but
it was most likely before 1740.
Whether the whole or part of his stock-in-trade was
bought by John Johnson, of Cheapside, I am unable to say,
but Johnson certainly re-published two volumes of Country
Dances in oblong 8vo, which were entitled " Wrights' Com-
pleat Collection of Celebrated Country Dances," vol. 1st and
2nd. The preface to volume one is signed D. Wright, and
the two volumes are advertised on one of Wrights' books.
Publications by either of the two are not common ; the
following, except otherwise stated, are in the library of Mr.
Taphouse.
C. 1710 Lessons for the Harpsichord or Spinnet, viz. Almands,
Corants, Sarabands, Airs, Minuets, and Jiggs, composed by
Mr. Baptist Lully. .. .London, printed and sold by Daniel
Wright, musical instrument maker, and musick printer, next
the Sun Tavern, the corner of Brook Street, in Holborne,
oblong folio.
1714 The Godolphin, Mr. Isaac's new dances, performed at
Court on her Majesty's birthday, 1714. The tunes composed
by Mr. Paisable, to which are added all the new Minuets,
Rigadoons, Pasbys, and French Dances, danced at Schools
and public entertainments at most of the Courts in Europe
....Price 6d. ; London, printed for and engraved by
D. Wright, next dore to ye Sun Tavern, at Brooke Street
end, near Holborn bars, and Mrs. Miller's, at ye Violin and
Hoboy, on London Bridge : oblong 8vo.
1718 The Monthly Mask of Vocal Musick, or the newest songs
made for the theatres and other occasions. . . .Published for
January, 1718, price sixpence. .. .London, printed for and
sold by Daniel Wright, musical instrument seller, next door
to the Sun Tavern . . folio.
A pictorial title similar to that used by Walsh for his
" Songs in Hydaspes. "
158
C. 1720 An Extraordinary Collection of Pleasant and Merry
Humours, never before published, containing Hornpipes,
Jiggs, North Country Frisks, Morriss, Bagpipe-hornpipes,
and Rounds, with several additional fancies added, fit for all
those that play publick. . . .London, printed for and sold by
Daniel Wright, musical instrument seller, next door to the
Sun Tavern, near Brooke Street, Holborne. Entered in the
Hall, according to Act of Parliament ; oblong 8vo. (British
Museum.)
Chappell (p. 544) says that there were three publications under this
title ; one entered in Stationers' Hall in 1713.
C, 1720 The Musical Pocket Book, containing an Extraordinary
Collection of the newest and best lessons of English and
Italian Aires, Preludes, Allenands, Corants, Minuets, and
Jiggs; also some of the most celebrated song tunes, with
their symphonys, taken out of the most choicest operas ....
Price is. 6d. . Published without leading strings for ye use
of those persons that can go alone. .. .London, printed for
and sold by Daniel Wright, musical instrument seller, next
door to ye Sun Tavern, ye corner of Brook Street, in Holborn
near the barrs, oblong 8vo.
(A preface gives the reason of the curious mention of leading strings ;
the work is simply published without the usual pages of instructions,
common in such collections.) There is advertised in this volume a Col-
lection of Scotch Tunes, a book of Hornpipes, and Corelli's Solos.
C. 1726-7 Aria di Camera, being a choice collection of Scotch,
Irish, and Welsh Airs for the Violin and German Flute, by
the following masters, Mr. Alexander Urquhart, of Edin-
burgh, Mr. Dermot O'Connar, of Limerick, and Mr. Hugh
Edwards, of Carmarthen. .. .London, printed for Dan.
Wright, next the Sun Tavern, in Holborn, and Dan. Wright,
junior, at the Golden Bass, in St. Paul's Church Yard,
small 8vo.
With frontispiece (a work of much interest).
1732 Minuets and Rigadoons, with Basses for the year 1732, to
which is added ye Minuets and French Dances as they were
perform'd at Court upon his Majesty's birthday. .. .Cross,
Sculpsit. . . .London, printed for and sold by Daniel Wright,
musical instrument maker, next door to the Sun Tavern, in
Holborn, and D. Wright, junior, at the Golden Bass, in ye
north side of St. Paul's Church Yard, near Cheapside,
oblong 8vo.
The Quakers' Comical Song, sung by Mrs. Willis at the
New Theatre, exactly engraved by Daniel Wright. (Early
sheet song, begins " Among the pure ones all." (British
Museum.)
Another song, referred to by Chappell, is a Robin Hood ballad, p. 395.
Stenhouse mentions, p. 58, "The British Miscellany, or the Harmonious
Grove, printed for Daniel Wright, Brook Street, London, in November,
1 733" There is little doubt that this is a copy of Walsh's better
known publication. Mr. Chappell was possessed of a Daniel Wright
edition of " The Merry Musician, or a Cure for the Spleen, a collection of
English and Scotch Songs," this was included in Quaritch's Catalogue,
December, 1S87.
159
Daniel Wright, Junior.
C. 1725-30 The Second Book of the Flute Master, improved, contain-
ing the plainest instructions for learners, with variety of
easy lessons by the best masters. .. .London, printed for
D. Wright, junr , in St. Paul's Church Yard, near Chf^pside,
where may be had the 1st and 2nd Collections of Country
Dances for the Flute ; oblong 8vo.
C. 1730 The Rover, set by Mr. Betty, organist, Manchester....
Printed for D. Wright, junr., at ye Golden Bass, the north
side of St. Paul's Church Yard.. Cross, Sculpt. Sheet
Song in British Museum, begins: "Tost in doubts and
fears."
C 1735 The Compleat Tutor for ye Flute, containing the newest
Instructions for that instrument, by Daniel Wright, M.M.
Likewise a collection of ye most favourite tunes, collected
from Ballad Operas ; the whole illustrated with propper
graces. .. .London, printed for ye author at ye Violin and
Flute, the north side of St. Paul's Church Yard ; large 8vo;
frontispiece. (In my own library).
Wright & Co. Hermond or Harman Wright, in
partnership with a person named
Wilkinson (possibly the Wilkinson who afterwards was a
partner with Broderip), succeeded Elizabeth Randall at
Walsh's old shop in Catherine Street, Strand ; this was some
time between 1781 and 1784. John Walsh, the younger,
when he died, must have left an enormous stock, and no
doubt both Randall and Wilkinson will have sold from it
extensively, occasionally reprinting, from the original plates,
works in demand. The works of Handel were always sale-
able, and Wright & Co. re-printed these very largely. They
of course re-issued and published works by other composers,
and their imprint is found on many detached pieces of music
and songs.
In 1789 the directory shows Harman Wright alone at 13,
Catherine Street, and he remained here until at least 1799.
In 1802 the directory shows that he had removed to 386,
Strand ; after this I lose trace of him.
Wybrow, VV\ At the "Temple of Apollo," 24, Rath-
bone Place, a publisher who first came
into notice about 1820. He published a great quantity of
sheet songs from this date until comparatively late in the
century. At an early period the imprint is frequently
W. & S. Wybrow. About 1830 W. Wybrow announced that
at a recent sale he had purchased the original plates of
Dibdin's Songs. These he re-issued and in fact much of his
early music appears to have been from earlier plates. In 1853
William Wybrow was at 33, Rathbone Place.
160
Young, John. Was a music seller and instrument
maker at the sign of the Dolphin and
Crown, in St. Paul's Church Yard, at the west side and at the
corner of London House Yard. He must have been estab-
lished in the last years of the seventeenth century, and though
so far as I have seen he published nothing on his own account,
yet his name occurs on the imprints of several of the music
printers and publishers of his day. The earliest which I
know is a half-sheet song in the British Museum, " The
Scotch Wedding, or the Lass with the Golden Hair," circa
1700, " printed for and sold by I. Walsh, musical instrument
maker to his Majesty, at ye Golden Harpe and Hoboy...and
I. Hare, at ye Golden Viall, in St. Paules Church Yard... and
I. Young, musicall instrument maker, at ye Dolphin and
Crown, in St. Paules Church Yard." His name is on the
1707 edition of "Pills to Purge Melancholy" ; Chr. Simpson's
"Compendium of Practical Musick," 1714; "The Merry
Musician," volume 2 (circa 1728); "The Dancing Master,"
third volume (circa 1728), and the 4th edition of the second
volume of the same work. This last is dated 1728. It is
probable that Young died about this period, for I have found
no later imprints. One of Young's trade labels now before
me runs : — " Sold by John Young, Musical Instrument Seller,
at the Dolphin and Crown, at the west end of St. Paul's
Church, where you may be furnished with al sorts of Violins,
Flutes, Hautboys, Bass- Viols, Harpsicords, or Spinets, like-
wise al Books of Tunes and Directions for any of these Instru-
ments, also al sorts of Musick, Rul'd Paper, and Strings, at
Reasonable rates."
Hawkins says that he had a son named Talbot who had
attained great proficiency on the violin. This notice of Young
may be fitly concluded with the clever and oft quoted catch
as printed in the " Second Book of the Pleasant Musical
Companion, London, printed by Wm. Pearson, for Henry
Playford, 1701 ; it is generally given as from the 1726 edition :
"A Catch upon Mr. Young and his Son." — Dr. Casar.
You scrapers that want a good fiddle well strung,
You should go to the man that is old while he's Young.
But if this same fiddle you fain wou'd play bold,
You must go to his son, who'll be Young when he's old.
There's old Young and young Young, both men of renown.
Old sells, and young plays the best fiddle in town.
Young and old live together and may they live long,
Young to play an old fiddle, Old to sell a new song.
€nglisb Provincial Publishers.
Bath.
Lintern, J. & W. Abbey Church Yard. They were
music sellers and agents for
Cahusac & Sons upon whose imprints their names frequently
appear. They published occasionally — one work being : " Ten
Country Dances, and four Cotillions... for 1797, printed for
and sold at J. & W. Lintern's Music Warehouse, Bath,"
oblong 4to. (British Museum.)
Loder, John David. A violinist of repute, who was
born at Bath in 1793, and died
in 1846. He had a music shop at 46, Milsom Street, and pub-
lished from here pieces of sheet music. One series (about
1820) is " Loder's edition of Handel's Songs... carefully adapted
from the full score, by J. W. Windsor. Bath, printed and
sold by J. D. Loder, at his music and musical instrument
warehouse, 46, Milsom Street," folio. His engraved label,
also bearing this address, is found pasted on sheet music.
There was also another of the same musical family, A. Loder,
who had about the same period a music shop at 4, Orange
Grove.
White, John Charles. 1. Milsom Street, and 3,
George Street, published,
about 1818-20, "The Dandy Beaux," "Vulcan's Cave," and
other sheet dance music, as well as vocal pieces ; much of it
composed by the publisher himself.
Birmingham.
BrOOine, Michael. At the sign of Purcell's Head,
Colmer Row ; seems to have
been an engraver who published several books of music. I
am acquainted with the following : —
C. 1750 A Choice Collection of twenty four Psalm Tunes, all in four
parts, and fifteen Anthems, by different authors. .The whole
collected, engraved, and printed by Michael Broome, music
and copper plate printer, in Colmer Row, near St. Phillip's
Church, Birmingham. (British Museum.)
1753 A Collection of Twenty eight Psalm Tunes, in four parts, by
several authors, printed to the new version of the Psalms for
162
the use of the Churches and Chapels in and near Birming-
ham. .. .collected, printed, and sold by M. Broome, Birm-
ingham, 1753, Svo. (British Museum.)
r 757 The Catch Club. . . .collected, printed, and sold by Michael
Broome, near St. Phillip's Church, Birmingham, 1757. (A
copy in the library of Mr. S. Reay, Newark.)
Smith, Wm. Hawkes. Temple Street, published
at least two humorous sheet
songs with music. The titles and body of these are quaintly
illustrated and the whole is done in lithography. The two in
my own library are " Quadrilling, a favourite song, ascribed to
the authors of ; Rejected Addresses,' the decorations designed
and executed by William Hawkes Smith, Birmingham
Printed by the lithographic process by W. Hawkes Smith,
Temple Street, 1820." The other is " Washing Day, a proper
new ballad for wet weather," similar imprint. An enterprising
firm of soap manufacturers seized upon this latter and re-issued
it as an advertisement some few years ago.
Woodward. - " Musical instrument maker and music
seller, Birmingham " — engraved label
pasted on sheet music about 1790.
Bristol*
Howell. His name as music seller occurs on London
published sheet music about 1800. A curious
shaped violin bears the label T. Howell, Bristol, 1836.
Smith A. P. Another Bristol music seller whose
name is given on a Birmingham sheet
song "The Washing Day," circa 1820.
Cambridge.
Barford, M. Union Street, a music engraver, copper
plate printer, and music seller. He pub-
lished about 1798 " Barford's Collection of Rondos, Airs,
Marches, Songs, etc., for the Pianoforte, Violin, and German
Flute," 4 books, oblong 4to.
Wynne. A music seller whose name is engraved on
Edward Miller's " Elegies," published by
Mrs. Johnson, Cheapside, circa 1765.
163
Cbcllcnbain.
Hale C. 385, High Street. He published at least two
books of dances : — " Hale's Selection of
Quadrilles, Waltzes, and Dances, composed and arranged for
the pianoforte or harp," oblong 4to, with a view of the gardens
on title.
Gloucester.
Raikes, R. He was, there is reason to believe, the
father of Robert Raikes, the founder of
Sunday Schools. The elder Raikes was born in 1690 at
Hessle, near Hull, and began life as a printer at York. On
removing to Gloucester he founded the " Gloucester Journal."
The only musical work bearing his imprint that I know of is
in Mr. Taphouse's collection : — " Two Cantatas and Six
Songs, set to music by B. Gunn, organist of the Cathedral in
Gloucester. Gloucester, printed by R. Raikes, 1736," 4to,
title in type printing, music engraved.
Greenwich.
Martin, C. Published a sheet song: — "In Airy
Dreams, a favourite song and duet, printed
and sold by C. Martin, Greenwich," circa 1795.
Great milfoil.
Wilkins, Mathew. Published :—" A Book of
Psalmody, containing a choice
collection of Psalm-Tunes, Hymns, and Anthems, in 2, 3, and
4 parts, by the best masters collected, printed, taught and
sold by Mathew Wilkins, of Great Milton, near Thame,
Oxfordshire," oblong 8vo., circa 1740-50, engraved.
Halifax.
Jacobs, E. A printer and bookseller who published a
very excellent song book, having the airs
to the songs printed from music type. This was : — " The
Yorkshire Musical Miscellany, comprising an elegant selection
of the most admired songs in the English language set to
music... Halifax, printed by E. Jacobs, and may be had of
164
Binns, Leeds; Peck, York... 1800," 8vo. Another work is
''Sacred Music, consisting of a new book of Psalmody by
the Rev. John Chetham...the whole carefully corrected and
revised by Mr. Stopford, organist of Halifax, printed and sold
at Jacobs' office, near the new Market, 181 1," 8vo ; music
printed from type. These are the only musical works I have
found having his imprint. In 1822, E. Jacobs had given place
to James Jacobs.
ftuddcrsfield.
Lancashire, J. He printed and published a small
volume of songs with the airs printed
from type, asunder, " The Musical Cabinet, being a selection
of the most admired English, Scotch, and Irish Songs, with the
music... Huddersfield, printed and sold by J. Lancashire,"
i2mo, circa 1814.
CccUs.
Livesey, Christopher. A Leeds engraver, who,
about 1790, engraved
several musical works for Henry Hamilton, a music master
and composer. One of these is a folio of nine pages : " Four
Airs for the Harpsichord, Pianoforte, and Organ, composed
by Henry Hamilton, organist, printed for and sold by the
author, by Mr. Binns, and Mr. Porter, Leeds engraved by
Chr. Livesey, Leeds," folio. Another, a folio sheet, with
watermark 1801, is "The Duke of York's New March by
H. Hamilton, and published by permission of his Royal
Highness the Duke of York, sold by the author, and at Mr.
Porter's shop, Leeds; Livesey, Sc, Leeds." Another song
sheet by Hamilton, watermark 1810, is: "Hymns, by the
Countess of Essex, published by H. Hamilton." Henry Hamil-
ton, the composer, was a musician and a teacher ; his address
in 1 81 7 and 1822 was at 8, Low St. Peter's St. Christopher
Livesey, the engraver, afterwards associated himself with
Butterworth, a well known Leeds engraver. Edward Porter,
the music seller and bookseller, had a shop, about 1790, in
Briggate, but in 1798 he had removed to Lowerhead Row
where, with changes of number, he still remained up to 1837.
Porter's stamp is frequently found on music, but I have, as
yet, discovered no piece of music which he himself published.
165
Muff, Joshua. He was at one time the principal
music seller in Leeds. Before 1817
he held the shop, 17, Commercial Street, now part of the
premises of Mr. Jackson, bookseller. Somewhere about 1825,
he removed nearer Briggate. 12, Commercial Street, a shop at
the corner of Land's Lane, at one time held by Butterworth
& Hope, engravers. He removed again to 16, Commercial
Street, where, before his retirement from business, he was an
insurance agent and a manufacturer of printer's brass rules.
About 1846, he sold his business to Messrs. Simms, pianoforte
dealers and music sellers, and retired to his house at Headingley.
Mr. Muff was a precise old gentleman, and, if I mistake not, a
quaker. Muff published many musical pieces in sheet form
and in larger gatherings, as : —
C. 1816-7 The Leeds Quadrilles, as danced at the Assemblies; for the
pianoforte, violin, etc., by R. Willis, published by the author
and may be had at his house in Providence Row, oblong 4to.
1817 A Set of Six Quadrilles, by R. Willis, Leeds. .. .J. Muff.
Commercial Street, folio (preface dated 18 17).
C. 1818-9 No. I of an Original Set of Psalm and Hymn Tunes,
adapted for the use of Churches, Chapels, and Sunday
Schools .... by James Ellis, Horsforth, near Leeds. Pub-
lished by the author and may be had of Mr. Mufl, Mr.
Sykes, and Mr. Booth, Leeds," oblong 4to.
C. 1820 Sacred Harmony, being an entire new set of Psalm Tunes,
adapted to all the various measures contained in the old, the
new, and Dr. Watts' edition of the Psalms, by B Clifford,
late 1st West York Militia. Leeds, published by W. Clifford,
and may be had of Mr. Muff, Mr. Porter, and Mr. Booth,
Leeds, oblong 4to.
C. 1815 The Fall of Paris, a favourite Quick Steps, as performed
by the Duke of Gloster's band ; Leeds, published by I. Muft,
17, Commercial Street, half sheet folio; at the back is
" March in Blue Beard."
C. 1815 The Celebrated Irish Melody : Fly not Yet, newly adapted
for the pianoforte or harp, by J . White, the words by a Lady.
Leeds, printed and sold by J. Muff, 17, Commercial Street,
folio sheet song in imitation of Thomas Moore's well known
lyric.
Sykes. The Sykes family has been for a long time
associated with the Leeds music trade, and the
business founded by the earlier branches is still in existence.
In 1 81 7 William Sykes dealt in music at 18, Burley Bar, and
in 1822 with additional premises — Nos. 16 and 18. in 1826,
as Sykes & Son, the firm is at 72, Briggate, with the premises
still held at Burley Bar (Guildford St.), and shortly before
1837 they remove to 21, Boar Lane. Either the number is
166
altered or they again change shops, being, in 1845, at 30, Boar
Lane (on the south side of the street), and here John Sykes
remained until after 1861. The present shop, which has been
held for a long time, is at the corner of Bond Street and
Albion Street. Sykes & Sons published several musical
works ; the ones I have seen are : —
182S Modulus Sanctus, a collection of Sacred Music, arranged
for 1 or 4 voices, with an accompaniment for the organ or
pianoforte, by John Greenwood, late organist of the Parish
Church, Leeds. Leeds, published by Sykes & Sons, at their
music warehouse, 72, Briggate, 4to ; printed date on cover
1828.
1830 A Seventh set of Hymn Tunes, to which is added a few
suitable for Christmas, by John Fawcett, late of Kendal ;
Leeds, Sykes & Sons, 1830, oblong 4to, with litho frontis-
piece.
C. 1830 Robert's Melodia Sacra, for 1 or 4 voices, arranged by
John Fawcett, late of Kendal ; Leeds, Sykes & Sons ; Lon-
don, Goulding, 20, Soho Square, and Clementi & Co., oblong
4to.
Wright, Thomas. He printed, so far as I have been
able to ascertain, the first Leeds
musical work and this was in 1787. The book is an edition of
Chetham's Psalmody, with the music portion cut in wood.
These wood blocks had been used for a prior edition of the
same work, dated 1752, and which, though bearing a London
imprint, was " Printed for Joseph Lord, at Wakefield " ; most
likely indeed there printed. The title and imprint of Wright's
work is as follows : —
1787 A Book of Psalmody, containing a variety of tunes for all
the common metres of the Psalms in the old and new
versions, .with chanting tunes, .and fifteen Anthems, all set
in four parts, nth edition, by the Rev. John Chetham.
Leeds, printed by and for Thomas Wright, and for John
Binns and Wm. Fawdington, Leeds.. 1787, 8vo. (In my own
library.)
Thomas Wright had, in 1798, an establishment at " New
Street End," and Wm. Fawdington had a shop (in the same
year) under the Moot Hall. He was a volunteer in a newly
raised corps. John Binns, the most famous bookseller of the
trio, had a shop near the corner of Duncan Street, in Briggate,
where he sold new and old books, besides being a printer and
publisher. He was proprietor and printer of the " Leeds
Mercury," and died in 1796.
Another early Leeds music seller who may have pub-
lished works was William Booth, who, in 1809, had a shop in
Mill Hill. In 181 7, he was styled maker of musical instru-
167
ments, at 58, Mill Hill ; in 1822, as a Violin and Violoncello
maker, 57, Mill Hill. He took his sons into partnership, and
the firm had many changes of address. In 1861 Edward
Booth, the son, was in the Central Market. The family ranked
in the early Leeds musical circles.
Though considerably after the period covered by the
present work, mention may be here made of John Swallow, a
music type printer, who, before 1837 to after 1861, had premises
in the Corn Exchange. He issued several notable works, as :
" A Collection of Glees, etc.," in oblong quarto, and "The
Deliverance of Israel from Babylon, by Wm. Jackson, of
Masham." This is a bulky folio, type printed, and dedicated
to Prince Albert.
CiiKrpool-
Hime. There were two brothers of this name in the
music trade: — M. Hime, who established a large
business in Dublin, and his brother, Humphrey, who founded
almost as large a one in Liverpool ; in fact, Humphrey Hime
appears to have been the largest of the provincial publishers.
The two were in partnership in Liverpool prior to 1790, for
the directory for that year gives: — "Hime, M. & H., music
warehouse, 56, Castle Street," and as the directory for 1796
records one name alone, " Hime, Humphrey, 57, Castle St.,"
it is very likely that the other brother had removed to open his
Dublin business. In 1805, H. Hime had taken his son
into partnership and had opened another shop in Church St.,
opposite the post office, then in that street. They occupied
these two places of business for a considerable length of time,
ultimately making the Church Street shop the principal one.
The Castle Street shop is variously numbered, 56, 54, 14, 53,
and again 40 ; so also the case with the Church Street premises,
which are 32, and at a late period, 57. The Church Street
shop was held till into the seventies ; a modern imprint gives :
" Henry Lee, late Hime & Son, 57, Church Street." There
were others of the Hime family in the music trade in Liver-
pool during late years.
Humphrey Hime and Hime & Son, so far as I have seen,
only published sheet music — mostly songs. They were
always particularly well engraved and learly printed. Out of
the great numbers which I have seen I select the following : —
O Ever Skill'd, a favourite song, composed by J. A. Steven-
son, Mus. Doc, Liverpool, published by H. Hime, Castle
Street, folio.
168
The Earth is a Toper, translated from the Greek. . . .sung
by Mr. Meredith at the Music Hall, Liverpool. Printed and
sold at Hime's Music Shop, 14, Castle Street.
The Chapter of Kings .. written and sung by Mr. Collins,
author of The Brush. .Liverpool, Hime & Son, Castle Street
and Church Street.
Saint Patrick was a Gentleman, a new comic song.. sung
by Mr. Penson, at the Theatre Royal, Liverpool, Hime &
Son, Castle Street and Church Street, opposite the Post
Office Place.
Diamond cut Diamond, or the Yorkshire Horsedealers ;
All alive at Liverpool ; Adventures of a Steam Packet ; The
Dandy ; Dancing, Quadrilles, etc. Some of these comic songs
have pictorial titles.
Sadler, John. At first a printer, but who afterwards
became famous by reason of his inven-
tion for using engraved transfers on china and earthenware.
In this he was joined by Guy Green, and Sadler & Green
produced for Wedgwood and others a vast quantity of black
printed earthenware. John Sadler was the first (so far as I
have been able to ascertain) to issue printed or engraved music
in Liverpool, and in 1754 he published a thick octavo volume
entitled " The Muses Delight." The book contains a series
of instructions for the different instruments, a musicals-
dictionary, and a great number of songs, with and without
the music. At first sight it might be considered that the
music was set up in type, but closer examination will show it
to have been neatly cut in wood. In 1756 the work was again
re- issued in two volumes, under the title "Apollo's Cabinet
or The Muses Delight." The old printed sheets of " The
Muses Delight " appear to have been used up to p. 230 and to
this others were added. It may be noticed that pp. 231 and
232 are frequently missing from the "Apollo's Cabinet,"
p. 232 is blank in the " Muses Delight," but in the former
work this page contains the song (its first appearance in print),
" Ge ho Dobbin, or, the Waggoner." It is likely that the
publisher himself has cancelled the leaf after the work has
been printed. Besides the date 1756, there are other copies of
"Apollo's Cabinet," which are dated 1757' and another, 1758.
I have also some reason to believe that others have a London
imprint. Included in most copies of the work are a few pages
of engraved music, being " Twelve Duettos for two French
horns and two German flutes, composed by Mr. Charles."
John Sadler's place of business was in Harrington Street,
and upon his discovery of earthenware printing he seems to
have entirely abandoned the printing and publishing of books.
169
1754 The Muses' Delight, an accurate collection of English and
Italian Songs, Cantatas, and Duetts, set to music. . . .Liver-
pool, printed and published and sold by John Sadler, in
Harrington Street, 1754, 8vo.
1756 Apollo's Cabinet, or The Muses' Delight, an accurate
collection of English and Italian Songs, Cantatas, and
Duetts, set to music. . . .volume I (and volume II) . . . .Liver-
pool, printed by John Sadler, in Harrington Street, 1756
(copies also dated 1757 and 1758), 8vo.
Sibbald, William. He appears to have been a
teacher of the guitar and a
music seller sometime between 1770 and 1780. The only
work bearing his imprint is in my own library, it is a work in
folio of 16 pages, and is engraved "A Choice Collection of XII
of the most favourite Songs for the Guittar, sung at Vaux
Hall, and in the Deserter, now performing at the Theatre
Royal, in Drury Lane with an easy bass throughout, by
D. Ritter... Liverpool, printed for Wm. Sibbald, teacher of the
Guittar... and sold at his music shop, Temple Bar, in New
Market... folio, circa 1773-4. The Liverpool Directory for
1774 gives : — "Sibbald, Wm., music shop, 5, Temple Bar'" ;
that for 1781, " Sibbald, Wm., musician, 46, Lord Street."
* Yaniewicz, Felix. He was a Polish violinist of
some degree of celebrity, who
settled in Liverpool. The earliest trace I can find of him here
is in the directory for 1800, where he is entered as " Musician,
Upper Birkett Street, St. Annes." In the one for 1803 he is,
" Musician and Musicseller, Lord Street"; in 1805 and 1807, as
at 29, Lord Street, with a house in Lime Street. In 1810 he
has gone into partnership with a person named Green, but in
1813 and 1816 he is alone again at 60, Lord Street. In 1818
the firm is Yaniewicz & Wiess, and they remain at the above
address until 1827, when they are at 2, Church Street. In
1829 W. G. Wiess is alone at this address and in 1832
Felix Yaniewicz is a dentist at 44, Bold Street. Messrs.
Brown & Stratton's account of Felix Yaniewicz is that he was
born in 1762, married Miss Breeze in 1800; settled in Edin-
burgh in 1815, where he died in 1848. Yaniewicz certainly
was leader of the first Edinburgh Festival, and in 1819, etc.,
he was giving a series of concerts there. It is likely that he
had handed over to his son and to his partner his active share
in the Liverpool business. It is also likely that his son, perhaps
bearing the same Christian name, had turned dentist. William
Gardiner, in " Music and Friends," speaks of having met the
celebrated performer while on a visit to Liverpool.
170
He published some sheet music as : — " The Ladies'
Collection of Pianoforte Music... com posed and selected by
Felix Yaniewicz, Liverpool, printed and sold at his music and
instrument warehouse, 25, Lord Street," folio ; " Mozart's
Grand March, Liverpool, printed and sold at Yaniewicz's music
warehouse, 25, Lord Street" ; "Song of Battle. ..by Mathew
Haughton, the music by F. Yaniewicz, Liverpool," similar
imprint.
Manchester.
Smith, Henry. Was printer and publisher of the
" Manchester Iris." With this
paper were issued musical settings of songs, &c, both type
printed and engraved ; circa 1823, etc. The printing office
was in or near St. Ann's Square.
Townsend, John. Kept a music shop in King St.
In 1825 the number was 73, after-
wards 2. He published: — "Twenty four favourite Country
Dances for the flute, clarionet, or flageolet... J. Townsend, 2,
King Street, Manchester," printed title, engraved music,
oblong 8vo, circa 1838. This is perhaps one of the latest sur-
vivals of the yearly twenty four country dances in oblong
octavo.
Reu)castle=on=Cpne.
Kinloch Monro. Published " One Hundred Airs
(principally Irish), selected and
composed by Lieut. Gen. Dickson, arranged for the pianoforte,
violin, flute, etc., by Mr. Thomson, organist of St. Nicholas,
Newcastle-upon-Tyne, dedicated to the Duke of Northumber-
land, by Alex Monro Kinloch, dancing master... printed by
Goulding & Co. for Mr. Kinloch, at his music Saloon, New-
castle." 2 vols., oblong 4to, circa 1 816- 17.
Another early Newcastle work, circa 17801s " Six Minuets
for two violins and violoncellos, adapted for the harpsichord
or pianoforte... composed by I. Gregg, Dancing Master, New-
castle," oblong 4to. No imprint.
About 1803, W. Wright was one of the principal music
sellers of this place, and his name is given on London sheet
music as selling the same.
171
Oxford.
Turner Wm. So far as 1 have yet found William
Turner was the first printer in Oxford
to use music type. He printed in 1634 a work which con-
tained two pages of music from moveable type, forming the
musical setting to a song. The title of the work is : " The
Feminine Monarchic, or the Histori of Bees ; their admirable
nature and properties... by Charles Butler, Magd.... Oxford,
printed by William Turner, for the author, 1634," 8vo (Tap-
house). An edition of this is cited under the date 1609.
Charles Butler also wrote another curious musical work " The
Principles of Musick," 1636 (see p. 61 present volume).
Hall William. One of the best known of the early
Oxford printers. He printed from
moveable type Dr. Wilson's " Cheerfull Ayres, or Ballads,
first composed for one single voice and since set for three
voices, by John Wilson, Dr. in music... Oxford, printed by
W. Hall, for Ric. Davis, 1660," oblong 4to. (Taphouse.)
Playford re-printed this work (see p. 100). The errata is
preceded by the following note " This being the first essay for
ought we understand of printing musick that ever was in
Oxford, and the printers being unacquainted with such work,
hath occasioned the faults hereafter mentioned in this single
book." The above implies that Wm. Hall was practically
the father of music printing in Oxford, though as seen above
Wm. Turner had previously set up a couple of pages of music.
Another of Hall's printing was : — " A Short Direction for the
performance of Cathedral Service, published for the informa-
tion of such persons as are ignorant of it... by E. C... Oxford,
printed by William Hall, for Richard Davis, 1661," oblong
4to, from type, the copy in the Bodleian has a M.S. date Ian.
1, 1660. The above E. C. was probably Edmund Chilmead
who wrote a learned essay on Greek music. This formed an
appendix to an edition of " Aratus," printed at Oxford in 1672.
Bowman, Thomas. He was the publisher of two
editions of " Songs for one,
two, and three voices, to the thorow-bass, with some short
Symphonies collected out of some of the select poems of the
incomparable Mr. Cowley and others and composed by Henry
Bowman, philo musicus, Oxford, printed, and are to be sold
by Thomas Bowman, Bookseller, Anno Domini 1678," folio,
title page printed, the music engraved. A second edition was
printed in 1679.
172
Mathews, Wm. Was a music seller in business in
the High Street during the latter
part of the 18th century. His engraved label is found pasted
on sheet music and the following piece of music bears his im-
"print : " The Highland Laddie, as originally composed for
and sung at Mary Bone Gardens in June, 1 771... set to music
by P. Hayes, Mus. Doc"; at the foot is " printed for W.
Mathews, in the High Street, Oxford, engraved by T. Straight,
17, St. Martin's Lane," folio, circa 1780.
Beesly, Michael. Engraved, printed, and published
an oblong collection of Psalm
tunes about 1760, entitled : " A Book of Psalmody, containing
instructions for Young Beginners, after as plain and familiar
a manner as any yet extant. To which is added a Collection of
Psalm Tunes... collected, engraved, and printed by Michael
Beesly, and sold by Edward Doe, bookseller in Oxford, by
Thomas Price, bookseller in Gloucester, and by John Edmund,
at Winchester," oblong 4to (instructions are printed, the
tunes engraved. It is, I presume, an Oxford printed work—
my own copy bears a name and M.S. date 1773).
Hardy Henry. Probably succeeded to the business
carried on by Mathews in the High
Street. He had an engraved label, and his imprint is on the
following, " Sweet Annie, a favourite Scots Song, composed
by P. Hayes, Muc. Doc, printed for Henry Hardy, High
Street, Oxford, where may be had ' The Highland Laddie,' by
Dr. Hayes, Handel's Songs... and songs by the late J. Norris.
Haydn's overture... area 1790.
Tuns' Phillip. An Oxford music seller towards the
^ ' end of the 18th century. He pub-
lished sheet songs ; one is " The Virtues of Snuff, printed for
Phillip Jung, music seller, at Oxford, and to be had at all the
music shops in town and country," circa 1790. About or
before this date another sheet — an arrangement by Dr. Phillip
Hayes called "The New Soger Laddie," sung by Mrs.
Crouch, is printed for Firth and Jung, at Oxford.
Sheffield.
Gales T. Printed and published "The Musical Tour
of Mr. Dibdin, in which, previous to his
embarkation for India, he finished his career as a Public
Character. Sheffield, printed for the author by J. Gales, and
sold by all booksellers throughout the kingdom, 1788," 4-to.
The work contains a number of well engraved music plates.
173
Wakefield,
Lord Joseph. He appears to have been a bookseller
in a large way of business, and, in
1746, had, besides his Wakefield shop, branches at Barnsley
and Pontefract. His name, either as publisher or salesman,
is found on the imprint of many old Psalm books. One work
is "A Book of Anthems... (the second edition) by Josiah
Street, London, printed by Robert Brown, in Windmill
Court, Pye Corner, for Joseph Lord, bookseller, in Wake-
field, in Yorkshire, and sold by him at his shops in Barnsley
and Pontefract [other Yorkshire booksellers follow] 1746, 8vo,
type printed. Another is the 8th edition of Chetham's
" Book of Psalmody... London, printed for Joseph Lord, book-
seller in Wakefield, in Yorkshire, and sold by him at his shops
in Barnsley and Pontefract... 1752," 8vo. The music is cut on
wood, and was again used in 1787 by Wright, of Leeds.
Winchester.
Robbins, James. College Street. He published
" Harmonia Wykehamica. The
Original Music in Score of the Graces used at Winchester
College, and at the New College, Oxford, also the Hymn,
Jam Lucis ; the song, Dulce Domum, and the song, Omnibus
Wykehamicis...the whole printed under the direction of the
Rev. Gilbert Heathcote, A.M., 181 1 ...Winchester, printed for
and sold by Jas. Robbins, College Street, and may be had in
London of Goulding & Co., 20, Soho Square," oblong folio.
There is an earlier edition of this work.
york.
The earliest piece of York music printing I have note of
is " Psalm Tunes in four parts, 7th edition, with additions by
Abraham Barber, York, 17 15." This work was sold at
Rimbault's sale, but I have no information as to the printer.
White, Grace.* Printed in 1720 the following work,
a copy of which is in my own
library, " The Psalm Singer's Guide, being a choice collection
of the most useful tunes of the Psalms, in two, three, and four
parts... collected and composed by Edm. Ireland, and taught
by J. Hall, R. Sowerby, J. Turner, and others, the 4th edition,
with additions... York, printed by Grace White, for the
author... 1720," i2mo.
* She was the widow of J. White, a notable York printer, " at the signe
of the Bible, in Stonegate." She was re-married in 1724, to Thomas
Gent, who had been a journeyman printer with her husband.
174
Haxby. Was a music seller in York some time about
1 760- 1 770. He is named as being a subscri-
ber to and seller of " Elegies, Songs, and an ode of Mr. Pope's
...the music composed by Edward Miller, of Doncaster
London, printed for the author and sold at Bremmer's music
shop in the Strand, Haxby's, York, and Wynne's, Cambridge,"
folio, circa 1765. On December 28th, 1770 a Thomas Haxby
took out a patent for improvements in harpsichords. Haxby's
name is also found on Violins.
Knapton. This business was first started by S. Knap-
ton, who near the end of the 18th century
had a shop in Blake Street. He seems to have published
sheet songs, one being : " Margery Topping, a favourite comic
song, sung by Mr. Blanchard, at Cov't Garden, printed for
S. Knapton, Blake Street, York," circa 1800. In 1823 the
directory gives S. & P. Knapton, Coney Street. The latter is
Phillip Knapton the well known musician who was born at
York in 1788 and died 1833, Some time about or before 1820
the firm was a very flourishing one, and much sheet music,
beautifully engraved and printed, is found bearing the imprint,
" Knapton, White, & Knapton, Coney Street, York." I do
not know the history of the business after the death of
Phillip Knapton.
Scottish music Publishers.
The Press of Scotland suffered under a most mischievous
system of license and monopoly during a long period. This
crippling of the press was under the plea that a printer's
license was in the direct gift of the crown, and in the reign of
Charles II was absolutely given to an individual for money
lent to that impecunious monarch during his exile. As in the
case of the Elizabethan restriction, this will account for the
non-existence of Scottish printed music books during a time
when we might expect them to have been produced. The
Scottish veto was in force during a time when the English
press was free, and it extended to all printed matter, " from a
bible to a ballad." The first Scottish printed book was issued
about 1509 from an Edinburgh press, and the first containing
musical notes was probably " The Forme of Prayer " from
the press of Lekprevik, 1564. Aberdeen may, I think, claim
175
to have first published secular music in Forbes' " Cantus,"
1662. Between this date and 1740 Scottish printed or
engraved music books may be almost counted on the fingers.
During Charles the Second's reign the Edinburgh printers,
under the leadership of one Andrew Anderson, formerly of
Glasgow, entered into a partnership and applied for a patent
to be taken out in the name of Anderson, by which they were
to be jointly vested with the office of King's printer. This
being granted and coming eventually into the hands of Ander-
son's widow, she exerted her protective power very severely,
and Forbes, of Aberdeen, and others suffered imprisonment
and fine. The printing monopoly of Mrs. Anderson received
a slight check soon and it was declared that the royal patent
merely applied to Bibles and Acts of Parliament. Even so
late as 1770, Kincaid, the King's printer, brought an action to
attempt the re-establishment of part at least of the same
monopoly granted to Anderson. The harassing of printers
and publishers was of course fatal to the production of musical
works, the difficulties of printing which were far beyond those
of ordinary typography. It is therefore not to be wondered
at that printers were not ready to risk fine, confiscation of
plant, or imprisonment over works which might not even pay
the cost of production.
Aberdeen.
Raban, Edward. Printed one of the early Scottish
Psalters, " The Psames of David
in prose and metre, according to the Church of Scotland, In
Aberdeen. Imprinted by Edward Raban for David Melville,
1633," 8vo.
Forbes, John. Was the the first in Scotland to pro-
duce a book of secular music. This
work, popularly known as " Forbes' Cantus," is said to be only
the treble or " Cantus " portion of the work, the other volumes
which would have completed it being prematurely stopped.
It is the more likely, when we are aware (as before narrated)
that Forbes was prosecuted, imprisoned, and fined, for printing,
and so infringing the monopoly granted to Anderson then held
by his widow. On attention being drawn to the hard case of
Forbes and some other printers who had suffered with him,
the Anderson monopoly was restricted to the printing of Bibles
and Acts of Parliament. This gave Forbes an opportunity to
issue the second or the third edition of the " Cantus." The first
edition is dated 1662, second, 1666, and the third, 1682.
176
1662 Cantus ; Songs and Fancies to Three, Foure, or Five
parts, both apt. for voices and viols, with a briefe Introduc-
tion of Musick as is taught in the Musicke Schole of Aberdene,
by T. D., Mr. of Musick, Aberdene, printed by Iohn Forbes,
and are to be sold at his shop, Anno Dom. MDCLXII,
oblong 4to.
1666 Cantus ; Songs and Fancies. . . .with a briefe Introduction
to Musick as is taught by Thomas Davidson, in the Musick
School of Aberdene, second edition, corrected and enlarged
. . 1666, oblong 4to.
1682 Cantus; Song and Fancies .... the third edition, exactly
corrected and enlarged, together also with several of the
choisest Italian songs and new English ay res. .. .Aberdeen,
printed by John Forbes, printer to the ancient city of Bon-
Accord, 1682, oblong 4to.
This latter edition has been reproduced in photo lithography by
Mr. Alex Gardner, of Paisley, 1879.
AnSfUS, A. Was a music seller in Aberdeen who is
advertised on the title page as selling
F. Peacock's " Fifty Favourite Scotch Airs." This work was
undoubtedly published in 1762; not as given by Laing in
1776. Angus & Son also sell L. Ding's "Songster's
Favourite," circa 1785.
Brown M. A. Published "Sacred Harmony, being
a collection of Psalm and Hymn
Tunes... by John Knott, teacher of singing, Aberdeen... Pub-
lished for the author by M. A. Brown, bookseller, Broad
Street, Aberdeen, oblong 4to ; music engraved, preface dated
1 81 4. (Mr. A. Moffat.)
Daniel James. Published " A Collection of Scotch
Airs, Strathspeys, Reels adapted
for the pianoforte, or violin and violoncello ; by a Citizen,
Aberdeen ; Engraved, printed and published by James Daniel,
engraver, &c," folio.
Davie & Morris. Were music sellers in Union St.
They published about 181 2 some
" Fashionable and Popular Dances and Reels," in folio sheets,
which were engraved by Johnson & Anderson, Edinburgh.
Mr. Davie is marked as selling Donald Grant's " Collection of
Strathspey Reels, etc." At a much later James Davie pub-
lished " Davie's Caledonian Repository," in four oblong 4to
books, one of which contains a valuable bibliographical list of
of Scottish musical works. An edition of this bears the im-
print of Wood & Co., circa 1845.
177
In 1788 a fortnightly periodical was started in Aberdeen
under the title "The Aberdeen Magazine, Literary Chronicle,
and Review." It ran upon the same lines as the " Gentleman's"
and other similiar magazines. Each number contains a song
set to music, which latter was printed from type. The copy
in my own library has title page missing, so I am unable give
the printer and publisher's name. Volume II for 1789 con-
tains Robert Burns' song "Tarn Glen," strangely enough
signed T. S., other of Burns' poems are also present, but
unidentified with the poet.
Cdinburgl).
Early Printers. The pioneers of Scottish printing
were Walter Chepman and Andrew
Millar, who had a license for printing granted to them in 1507.
Robert Lekprevik was however the first to employ music
type in " The Forme of Prayers and Ministration of the
Sacraments, etc., used in the English Church at Geneva
printed at Edinburgh by Robert Lekprevik, 1565," small 8vo.
This edition is in the Advocates Library, but another a year
earlier, 1564, is said to be in Oxford. In 1571 Lekprevik was
at Stirling, in 1572 at St. Andrews, and in 1573 back again in
Edinburgh. One of his Edinburgh imprints is " Imprinted
by Robert Lekprevik and are to be sould at his house in the
Netherbow." Another printer in Edinburgh was T. Bassan-
dine, who in 1575 printed the Psalms, with musical notes.
In 1595 Henrie Chatteris printed "The Psalmes of David in
Metre, according as they are sung in the Kirk of Scotland
printed at Edinburgh, be Henrie Chatteris, 1595," small 8vo.;
editions are also said to be dated 1594 and 1596. Other early
Edinburgh Psalters were printed by Andro Hart ; one in
161 1, and another by his heirs in 1635, etc.
The above is a brief and confessedly imperfect note of an
interesting portion of the history of Scotch printing.
Anderson, John. Was a music engraver and alive
in 1839. He served his apprentice-
ship with James Johnson, and seems to have helped the latter
in the arrangement of materials for the later volumes of " The
Scots Musical Museum." Upon the death of Johnson in
181 1, he appears to have gone into partnership with the
widow, and from 181 1 to at least 181 3, Johnson a.ad Anderson
were at Johnson's old shop in the Lawnmarket, and engraving
for Edinburgh music sellers. Before 1816 (and also possibly
178
before his partnership with Mrs. Johnson) he, for a short
time, seems to have been in business alone, at one
time at 19, Picardy Place. In 181 6 he was partner
with Walker, and Walker and Anderson remained until
quite late. It is rather doubtful whether he or a musician
of the same name issued the little oblong work " Anderson's
Budget of Strathspey Reels and Country Dances printed
for and sold by J. Anderson, Messrs. Brysson, Bank Street,"
etc. (Glen.) This work is not to be confounded with another
Anderson's " Budget," published in Perth.
Anderson & BryCC Printers at Edinburgh who
printed an oblong quarto part
" The Sacred Minstrel, a collection of original Church Tunes,"
circa 1820, type printed.
Baillie, Alexander. One of the early Edinburgh
music engravers. His first
book was " Airs for the Flute, with a thorough Bass for the
Harpsichord." In the dedication to Lady Gairles, Baillie
says: — "The following airs having been composed by a
gentleman for your Ladyship's use when you began to practice
the flute a beque, I thought I could not chuse a better sub-
ject for my first essay as an engraver of musick than these
airs," etc., etc. This is dated Edinburgh, December, 1735,
and signed Alex Baillie, oblong 410 (Taphouse). He also
engraved Francis Barsanti's " Collection of old Scots Tunes,
with the bass for the Violoncello or Harpsichord... Edinburgh,
printed by Alexander Baillie, and sold by Messrs. Hamilton
& Kincaid," large 4to. This, as seen by advertisements in the
Scotch newspapers, was published in January, 1742. There
is, in Mr. Taphouse's library, a thin folio treatise on
Thorough Bass, by A.B., " Edinburgh, printed in the year
MDCCXVII," the music engraved. It is suggested by
Dr. Laing that this was by Alexander Baillie, but it is quite
unlikely.
Bremner, Robert. Was in business at the sign of
the Golden Harp, opposite the
head of Blackfriar's Wynd, some time before July nth,
1754, as on that date and on July 15th he advertises in the
"Edinburgh Evening Courant," to the following effect pre-
fixed by a woodcut of a harp, "Robert Bremner, at the sign
of the Golden Harp, opposite to the head of Blackfriers Wynd,
Edinburgh, sells all sorts of musical instruments, viz : — Bass
Violins, Harpsichords, and Spinets, German Flutes in ivory
179
ebony, or fine wood, Common Flutes of all sizes, French
Horns, Bagpipes, Pitch-pipes, and Tabors, and all other sorts
of wind instruments, also variety of the newest Concertos,
Sonatas, Duets, and Solos for all instruments now in use.
Likewise fine screw-bows, violin cases, double and single pins
and bridges, hammers, jacks, and wire for harpsichords and
spinets, reeds, rul'd book and paper, songs, music pens, and
the best Roman strings, wholesale and retail. Commissions
from the country particularly observed. N.B. — As the under-
taker intends to serve gentlemen and ladies with everything in
this way at the London prices, it is therefore hoped they will
encourage him, and whatever music is wanted that he has not
shall be immediately sent for." The above seems to imply
that Bremner was in a good way of business, but that he had
not long been established. He advertised freely in the
" Evening Courant," generally with the woodcut emblem of
the harp. Soon there was a representation of a hautboy
added, and Bremner's sign both in Edinburgh and afterwards
in London became the " Harp and Hautboy." The first
mention of it I have found is in an advertisement dated
November 30th, 1755, when he advertises in the "Courant,"
that " there is in the press a treatise upon music, revised and
approved by the directors of the Musical Society to which
will be added, neatly engraved on copper plates, a collection of
the best Church Tunes, Chants, and Anthems... by Robert
Bremner, at the sign of the Harp and Hautboy, Edinburgh."
The publication of this work, which was his, " Rudiments of
Music," is announced in February, 1756. The first edition
bears this date, the 2nd, 1762, and the 3rd (published in
London), 1763.
After publishing numerous works Bremner removed
higher up the High Street to the back of the Cross Well, and
Niel Stewart, removing from his shop in the Exchange,
appears to take Bremner's old premises, for he, on January
24th, 1761, advertises from his " Musick shop, opposite the
head of Blackfrier's Wynd." In or about the year 1762
Bremner left his Edinburgh business in the hands of a
manager and established another in London (see page 15),
making this new one his head establishment. After his
removal to London all his imprints bear the London address,
the " Harp and Hautboy, opposite Somerset House, in the
Strand." His latest Edinburgh imprint is " The Rudiments
of Music," 2nd edition, 1762, and the first London publication
with a date is the same work, 3rd edition, 1763. As stated in
180
the previous portion of this work Bremner died in 1789; and
his Edinburgh business was afterwards carried on by John
Brysson. The following is a list of all Bremner's Edinburgh
publications I have seen ; the dates of many can be ascertained
from advertisements in the Edinburgh newpapers.
1756 The Rudiments of Music, .by Robert Bremner, printed for
(February) the author, and sold at his music shop, the Harp and Haut-
boy, High Street, Edinburgh, 1756, i2mo. (Second edition,
Edinburgh, 1762).
1756 A Collection of Airs and Marches for Two Violins, or
German Flutes, oblong 4to.
(Proposals for printing the above in 12 numbers, advertised April 20th ;
No. II was published on July 24th, 1756.)
C. 1756 A Collection of Songs, for 2 and 3 voices; price 1/-;
advertised on " Thirty Songs," etc.
C. 1756 A Collection of Catches, for three and four voices, by
different authors ; price 6d Edinburgh, printed for
R. Bremner, at his music shop, .oblong 4to ; also advertised
on " Thirty Scots Songs."
1757 Thirty Scots Songs, for a voice and harpsichord, the
music taken from the most genuine sets extant, the words
from Allan Ramsay (advertised in 1757), folio.
C 1759 A Second Set of Scots Songs, for a voice and harpsichord.
A companion volume to the above later, folio.
1757 Thorough Bass made Easy. .Nicolo Pasquali, oblong folio
(advertised as ready May 7th, 1757).
1758 The Art of Fingering the Harpsichord. .Nicolo Pasquali,
oblong folio (advertised as ready Nov. 23rd, 1758. Pasquali
had resided in Edinburgh).
1759 Freemason's Songs, folio; advertised in June, 1759.
1759 Songs in the Gentle Shepherd; advertised August, 1759.
McGibbon's Scots Tunes, 3 books, oblong folio.
Adam Craig's Scots Tunes, oblong folio.
1759 A Curious Collection of Scots Tunes, oblong folio, adver-
tised August, 1759.
Instructions for the Guitar, oblong 4to.
A Collection of Scots Reels or Country Dances (in twelve
numbers, Nos. 7 and 8 advertised in Nov. 1759; No. 10,
January, 1761) ; oblong 410.
A Collection of Minuets. No. 3 advertised January, 1761.
1 761 The Harpsichord, or Spinnet Miscellany, oblong folio,
advertised August, 1761. A second book followed later.
Of most of the above there are later London editions, many even so
late as Preston's time, who bought the whole of Bremner's plates and stock.
181
Brysson, John. He is said to have been manager at
Bremner's Edinburgh shop at the
back of the Cross Well, being near the head of the Old
Assembly Close. He seems to have acquired the business on
the death of Bremner in 1789, and after that date his name
appears as publisher of several works and of much half-sheet
music. The directories show that he retained the shop on the
south side of the Cross Well up to 1807. The 1809 directory
gives him at Bank Street. In 181 1 he was at 429, High
Street, at the head of Bank Street, and shortly afterwards his
address was 16, Bank Street. The business was here in 1819,
but there is no record of it in 1821. There were others of the
same name in Edinburgh : — George, a pianoforte maker,
Castle Hill, in 1809, and in 181 1 a music seller in the High
Street ; and James, a teacher of dancing at the same period.
R. Bryson is mentioned on the imprint of Malcolm
McDonald's " Third Collection of Strathspey Reels," circa
I790-5-
P. 1791 A Curious Selection of Favourite Tunes, with variations,
to which is added Fifty Favourite Irish Airs. .. .printed for
J. Brysson's music shop, high Street, Edinburgh, .oblong
folio (advertised June, 1791).
C. 1792-3 A Collection of Duetts, for two German flutes or two
violins, .by a Society of Gentlemen. . Edinburgh, printed and
sold by J Brysson, music seller, Cross, where may be had
The Scots Musical Museum in 4 volumes, oblong 4to.
The Battle of Prague. .Edinburgh, printed and sold by
John Brysson, at his music shop, south side of Cross Well,
folio.
C. 1813 A Compleat Tutor for the German Flute. .. .Edinburgh,
printed and sold at J. Brysson's music shop, No. 16, Bank
Street.. J. Johnson, Sculp, (the address has been altered on
the plate from an earlier one) ,
From thee Eliza, .printed and sold at J. Brysson's music
shop, head of Bank Street, Edinburgh.
Many other sheet and half-sheet songs.
Clark, J. He was an engraver who published a thin
folio collection of Scottish music entitled
" Flores Musicae, or the Scots Musician, being a general
collection of the most celebrated Scots Tunes, Reels, and
Minuets... published 1st of June, 1773, by J. Clark, plate and
and seal engraver, &c, the first forestair, below the head of
Forrester's Wynd, Edinburgh," folio. A copy is in the
Wighton Collection in Dundee. I know of no other work
bearing his name,
182
Cooper, Richard. A music engraver who for at
least thirty years between 1725
and 1755 cut the plates of most of the music published in
Scotland. His first work, that I have record of, is the scarce
miniature volume of music for the songs in the " Tea Table
Miscellany," published by Allan Ramsay, about 1725. No
doubt he kept a shop for the sale of music, etc. The follow-
ing list of works engrave J. by Cooper might perhaps be added
to.
C. 1724-5 Musick for Allan Ramsay's Collection of Scots Songs;
set by Alexander Stuart, .engraved by R. Cooper, volume
first, Edinburgh, printed and sold by Allan Ramsay, small
oblong.
1730 A Collection of the Choicest Scots Tunes, adapted to the
Harpsichord or Spinnet. .by Adam Craig, Edinburgh, 1730. .
R. Cooper, fecit., oblong folio,
1734 A Collection of Minuets, adapted for the Violin and Bass
viol. .. .composed by James Oswald, dancing master.. Sub-
scriptions will be taken at Edinburgh by Mr. Cooper,
engraver. Advertisement in the Caledonian Mercury,
August 12th, 1734.
1737 Twelve Solos or Sonatas, for a Violin and Violoncello,
with a thorough bass for the Harpsichord. .. .by Charles
Macklean. .Edinburgh, printed by R. Cooper, for the author,
1737, folio.
1740 Six Sonatas or Solos, for a German Flute or Violin.. com-
posed by Wm. McGibbon. .. .Edinburgh, printed by
R. Cooper, for the author, 1740, oblong folio.
1742 A Collection of Scots Tunes ; some with variations for a
Violin, Hautboy, or German Flute.... by Wm. McGibbon,
book 1st. .Edinburgh, printed by Richard Cooper, 1742,
oblong folio.
Ditto, second collection, 1746; third, 1755.
Corri. As mentioned in the London section of the
present volume, Domenico Corri, the Italian
musician, came to Edinburgh in 1771 and published a small
volume of " Canzones," with the date 1772. His younger
brother, Natale Corri, also settled in Edinburgh, and the Corri
family by themselves, and in connection with James Suther-
land, an Edinburgh musician, established a music business here
and in London. The first notice I can find of a Corri firm is
on the imprint of " A Select Collection of the most admired
Songs, Duetts, etc., from operas of the highest esteem, in three
books... by Domenico Corri, Edinburgh, printed for John
Corri, and sold by him and by C. Elliot, Parliament Square,"
circa 1779, large folio, 3 volumes ; a fourth was added with the
imprint of Corri, Dussek & Co. In 1780, the firm was Corri
183
& Sutherland, with a shop in North Bridge Street, and their
names are on the imprints of many important Scotch publica-
tions, as Peter McDonald's " Highland Airs," etc. Some-
time about 1791-2 the firm became styled Corri & Co., and it
formed part of the London business Corri & Dussek. Besides
the address 37, North Bridge Street, they had another one at
8, South St. Andrew's Street. In 1 800-1 a James Sutherland was
a musical instrument maker at 10, St. Andrew's Square. In
or about 1802-3 * ne Corri, Dussek firm got into difficulties
both in Edinburgh and in London. In 1804-5, Natale Corri
commenced as a music seller alone and had concert rooms
near the head of Leith Walk. He remained in business here
until after 181 9. At one time he had premises at 41, Princes
Street. In 1822 his name has disappeared from the directory.
Corri & Sutherland, and Corri & Co. were extensive
publishers and issued much Scotch music, both in sheets and
in collected form. N. Corri seemed mainly to publish
sheet music.
Ding, Laurence. An Edinburgh musician, who
shortly after 1784 issued a folio
collection of songs with their music, entitled " The Songster's
Favourite, or a new collection containing Forty of the most
celebrated Songs, Duetts, Trios, etc., adapted to the Voice,
Harpsichord, or German Flute. ..by Laurence Ding, Edin-
burgh, printed for the compiler and sold by him at Churnside,
and Wilson's printing office," folio. In 1792 he published a
small pocket volume named " The Beauties of Psalmody... by
Laurence Ding... Edinburgh, printed for and sold by the
Editor at his house, first entry within the Netherbow, 1792,
J. Johnson, Sculp.," i2mo. After this date he appears to have
commenced a music shop in Parliament Square. His folio
reprint of Bremner's " Curious Collection of Scots Tunes," is
printed for and sold by L. Ding, No. 4, Parliament Square,
but a great deal of half-sheet vocal music has his address at
19, Parliament Square. He was here in 1801, but I cannot
trace him after this date.
Kdward, Wm. He engraved "A Collection of Scots
• Reels, or Country Dances com-
posed by John Riddle, at Ayr, and sold by himself there ;
likewise by Mr. Robt. Bremner, in Edinburgh, also at his
shope, the Harp and Hautboy, opposite Sumerset House, in
the Strand, London ; Wm. Edward, Sculpt. Dun Cameron
prints it, Edinburgh," oblong 4to ; Dr. Laing gives the date,
circa 1776,
184
Fleming, R. He appears to have been a music seller
near Bremner's shop in the High Street
in 1759. In the Wighton collection there is: — "Lessons in
the practice of Singing, with an addition of the Church Tunes,
in four parts, aud a collection of Hymns, Canons, Airs, and
Catches... by Cornforth Gilson, teacher of music in Edinburgh
...sold at the shop of R. Fleming, at the Cross, and by the
booksellers in town and country, 1759," oblong 4to. The
music is engraved.
Gow. Niel Gow, the head of the family so far as music
is concerned, was born in 1727 near Dunkeld.
Having attained a good deal of distinction as a performer and
composer of Scots violin music, he published through Messrs.
Corri & Sutherland, his First and Second Collection of
Strathspey Reels, the latter being issued in 1788, and the
former a few years previously. His son, Nathaniel, having
come to Edinburgh as a professional musician, appears to have
undertaken the publication of the Third Collection in Edinburgh,
while his other two sons, John and Andrew, who were music
sellers at 60, King Street, Golden Square, undertook the
London sale. In 1796 Nathaniel Gow entered into partner-
ship with William Shepherd, an Edinburgh musician, and
their first place of business was at 41, North Bridge Street,
from whence they published many collected pieces and much
sheet music. Before 1804 they had removed to 16, Princes
Street, and this number is retained until 1810-11, when it is
changed (probably by re-numbering the street) to 40. Shepherd
having died Nathaniel Gow found himself in great monetary
difficulties and had to make up a large sum to the executors of
his former partner. Shortly before 1818 he however entered
into business again with his son as " Nathaniel Gow & Son,"
at 60, Princes Street, and they carried on the trade until 1825,
when, the son having died, he shortly afterwards was partner
with the firm Gow & Galbraith. In 1827 bankruptcy came
to Nathaniel Gow, and his friends advised him to advertise a
ball for his benefit ; it realised a sum of nearly ^300. The
ball was again repeated in three subsequent years with a like
satisfactory result. Besides this he had a pension of ^50 a
year from the Caledonian Club. He died in 183 1. Whatever
causes tended to the ruin of Gow it is a fact that the profits
from his engagement as a violinist and leader of fashionable
dance functions must have been enormous. It is stated that
he frequently received one hundred and one hundred and fifty
guineas for attending a ball at Perth, Dumfries, etc. He was
185
appointed one of the King's trumpeters for Scotland with a
salary of ,£70, before he was sixteen, upon his first coming
to Edinburgh. The Gow publications include all Niel Gow's
Collections of Strathspey Reels (after the second, and of course
a re-publication of these), with the " Repositories," and
many similar collections by Nathaniel Gow and others, with
a vast quantity of sheet music, principally consisting of the
popular dance tunes of the day, a great many of which were
named after Gow's lady and gentleman patrons. Nathaniel
Gow was the composer of the ever popular " Callar Herring,"
which he wrote as one of a series of pieces to illustrate the
cries of Edinburgh. It was some twenty years after its first
publication that Lady Nairne wrote the words of this song to
Gow's tune. The following are some few of the Gow pub-
lications : —
A Third Collection of Strathspey Reels, .by Niel Gow, at
Dunkeld. .. .Edinburgh, printed for the author and to be
had of him at Dunkeld. .Nath Gow, Baillie Fybes Close,
Edinburgh, John and Andrew Gow, No. 60, King's Street,
Golden Square, London, folio.
A Fourth Collection. .Gow & Shepherd, music sellers, 41,
North Bridge Street.
A Fifth Collection. .Gow & Shepherd, 16, Princes Street
(also the second and other editions of the 1st and 2nd
collections).
A Complete Repository of Original Scots Slow Strathspeys
and Dances, .by Niel Gow & Sons.. Gow & Shepherd, 41,
North Bridge Street, folio.
Part Second of the Complete Repository. . . .Gow & Shep-
herd, 16, Princes Street.
Part Third. .Same imprint.
Part Fourth, published by the proprietor and to be had of
Nath Gow, 2, South Hanover Street, and John Gow, 30,
Great Marlbro' Street, London. Another later edition is
published by Gow & Galbraith.
A Complete Collection of Originall German Valtz....by
Nath Gow. . Gow & Shepherd, 41, North Bridge Street, folio.
A Collection of entirely original Strathspey Reels.... by
Ladies resident in a remote part of the Highlands of
Scotland. N.B. Corrected by Nath Gow. Gow & Shep-
herd, 16, Princes Street, folio.
A Second Collection of Strathspey Reels.... by William
Shepherd .... Gow & Shepherd, 16, Princes Street. (The
first was published by the author before his partnership with
Gow, but it was republished by the firm.)
A Complete Repository of Old and New Scotch Strathspey
Reels and Jigs, adapted for the German Flute ..Gow &
Shepherd, 40, Princes Street, oblong 4to. Ditto, Book II.
186
Several of Nath Gow's publications before he became music seller
were issued by N. Stewart, and after his failure Alexander Robertson
re-published the works of Neil and Nathaniel, and the additional parts
entitled " The Beauties of Neil Gow," "The Vocal Melodies of Scotland,"
and "The Ancient Curious Collection of Scotland."
Grant & Moil", They are notable for having first
printed an excellent book of songs
(with the music type printed) named "The Edinburgh Musical
Miscellany," 8vo. The first volume is dated 1792, and the
second, 1793. There are later editions of this work, precisely
the same in contents; one is dated 1808. The firm's address
was Paterson's Court. The second edition was printed by
Mundall, Doig, & Stevenson.
Hamilton, John. An extensive publisher of sheet
and other music, as well as a
writer of many Scotch songs. He was established in business
at 24, North Bridge Street, in the last one or two years of the
eighteenth century ; his name is in the directory for 1801. He
had been with John Watlen, and while here had published : —
" A Collection of Twenty Four Scots Songs, chiefly pastoral
written [and] adapted by John Hamilton, Edinburgh,
printed and sold by the author at Mr. Watlen's music shop,
34, North Bridge Street," folio, circa 1796. He had also had
single songs issued by Brysson, etc. After his commencement
in business Hamilton's publications were very numerous, they
include many collections of Scotch airs, and many hundred
sheet songs. He was the chief publisher of the musical works
of John Ross, an Aberdeen organist, who arranged many airs
to which Hamilton had fitted words. In 1809 he lived in a
house in Clerk's Land Bristo (his shop still being in the
North Bridge), and here he became acquainted with the father
of William and Robert Chambers when the Chambers' family
had removed to Edinburgh. About the date 181 3- 14 William
Chambers speaks of his father being friendly with John
Hamilton, " who, drawing to the conclusion of his days, lived
in a stair at the south end of Lothian Street, and in good
weather might be seen creeping feebly along the walks in the
Meadows, deriving pleasure from the sunshine to which he
was soon to bid adieu" (Memoirs, p. 75). According to a
notice in the Scots Magazine, he died, after a long and painful
illness, in his 53rd year, on September 23rd, 1814. It is
stated that he had married a lady pupil connected with an old
family to the great indignation of her friends.
In 1813 there was a John Hamilton, music seller, a very
short time at 26, Princes Street, and this address is also on
187
sheet music. In 1819, John Hamilton was a pianoforte maker
at 38, Libberton's Wynd. These names, no doubt, refer to a
son of the original Hamilton.
Some few of Hamilton's publications are : — •' A Complete
Collection of much admired Tunes, as danced at the Balls and
Publics of the late Mr. Strange... by John Clarkson, junior,"
folio ; "A Choice Collection of Scots Reels," oblong 4:0 ;
"The Caledonian Museum," 3 books, oblong 4to ; "A Select
Collection of Ancient and Modern Scottish Airs... by John
Ross, organist, St. Paul's, Aberdeen," vol. 1, folio, etc., etc.
Hlltton, Wm. A music engraver, who in 1810-11
was in partnership with George
Walker, in Foulis Close, until 1815-16. In 1816, Hutton
had set up in business for himself at 105, High Street, and
Walker had entered into a partnership with Anderson. In
1819, the firm was Hutton & Balmain. Much Scottish music
is stamped with Hutton's name. He had probably been
apprenticed to his partner, Geo. Walker.
Johnson, James. He was for nearly forty years the
principal music engraver in Scot-
land, and for a very long period practically the only one in
Edinburgh. A list of his work, could it be compiled, would
be almost a complete bibliography of Scottish music during
its most interesting period. Little is absolutely known of his
personality save that Robert Burns, the poet, held him in great
esteem. His works prove that he must have been industrious
to a degree, but the fact remains that his widow, at his death,
was left in straitened circumstances, and she died in the
workhouse. James Johnson was the son of Charles Johnson,
and it is likely that he was born about 1750 and apprenticed
to an Edinburgh copper plate engraver, probably to James
Read. The earliest work of Johnson's I have seen is a small
oblong quarto volume in my own library and I am unaware
whether another copy exists. Its title is " Six Canzones, for
two voices... dedicated to the Scots Ladies, by Domenico
Corri, Edinburgh, 1772, James Johnson, Edinburgh," oblong
4to, p.p. 14. In this or the following year he engraved
McLean's " Scots Tunes," oblong folio, and a little later
Daniel Dow's "Twenty Minuets"; all these, as well as some
other early works, are cut on copper. Afterwards most or all
Johnson's music is stamped on pewter. In the obituary notice
of his death in the Scots Magazine, it is asserted that he was
the inventor of this method of production, but be it remem-
bered that this had been the usual process before Johnson was
188
born ; Hawkins, as early as 1776. having referred to it and
mentioned the date 1710 in connection with its use. As
before stated, from 1772 to the advent of George Walker, the
engraver, that is to after 1790, practically all plate printed
music published in Edinburgh, came from Johnson's work-
shop. He also engraved much Glasgow music, including the
small oblong volumes of Aird's "Selection of Scotch, English,
Irish, and Foreign Airs." In addition to the music he must also
have engraved the pictorial titles to the first and second
volumes, for they bear his name. He engraved other Glasgow
works. In 1787 he appears to be in partnership with others,
and to have opened a music shop in the Lawnmaket, at the
head of Lady Stair's Close and he remained here until his
death. He had previously lived in Bell's Wynd, and while here
commenced the publication of perhaps the only work he
ever issued on his own account. This was " The Scots
Musical Museum, humbly dedicated to the Catch Club,
instituted at Edinburgh, June, 1771, by James Johnson," 8vo.
The first volume was published on May, 1787 ; the second,
March, 1788; the third, February, 1790; the fourth, August,
1792; the fifth, 1797; and the sixth and last, 1803. This
work contains six hundred airs, and, as Burns predicted,
still forms the text book of Scottish song. Burns con-
tributed something like one hundred and fifty traditional songs
and airs, which he had picked up from country singers. The
poet also wrote new words and retouched old verses for the
work, entering enthusiastically into the production of the book.
After Johnson's death the plates passed into the hands of
Messrs. Blackwood, who proposed to re- issue them with a
volume of historical notes, written by Wm. Stenhouse. This
was begun in 1820, but from some cause the printed sheets
remained in the publishers' warehouse until after the death of
Stenhouse, which occurrrd in 1827. In 1839, however, the
work came forth with some valuable bibliographical notes by
David Laing which, on its re-publication in 1853, were further
added to. This last edition is in four volumes including one
volume containing Stenhouse's notes. It has been the
fashion since Chappell's time to heap a great deal of foolish
and unreasoning abuse on Johnson's " Museum," and on Sten-
house's notes. The first it is contended, included a number
of airs not of Scottish origin, and that Stenhouse wilfully made
untrue statements. This latter accusation is absurd, but that
Stenhouse, in his 512 pages, falls into many errors is quite
true. We must, however, consider that eighty years ago the
antiquarian study of popular songs was in its infancy, and that
189
Stenhouse was a pioneer and far removed from the great
libraries which were then unsatisfactory for reference by
reason of the great restrictions placed as barriers against
consultation. The admission by Johnson of other airs besides
Scottish may be accounted for if we consider that Johnson
was not a musical antiquary, and that many airs, both English
and Irish, had Scotch words set to them which might give
them a claim. As they stand, however, up to the present
day no student of folk music can afford to ignore either Johnson's
" Museum," or Stenhouse's Notes. James Johnson died on
the 26th of February, 1811. It is likely that just before his
death he had taken into partnership John Anderson, an
apprentice, who seems to have been of some assistance in the
compilation of the "Museum." In the directory for 1811
Johnson & Anderson are named as copper-plate and music
engravers and printers, 475, High Street. In 1813 the
address is North Gray's Close: in 1 816, Anderson, after having
been in trade alone, has entered into partnership with Walker.
Mackintosh, A. Another Edinburgh music engraver.
His name does not occur very
frequently. He engraved J. Brysson's " Curious Selection of
Favourite Tunes," oblong folio, circa 1791, and in sheet music,
" A New Strathspey... dedicated to Miss Barbara Campbell,
by J. Thomson, Edinburgh, printed for the author," folio.
Mllir, Wood & Co. Commenced business shortly
before 1799, at which date their
names occur as selling a publication by Charles Dibdin, ' ; The
Lyric Remembrancer, 1799," 4-to. In 1801 they were
musical instrument makers to his Majesty, at 16, George St.,
but in 1804 they had removed to 7, Leith Street, where they
were until after 1809. In 1811 the address was 13, Leith
Street, and here they remained until 1818, after which date
the name is absent from the directories. As Messrs. Wood
& Co., of Waterloo Place, the survival of the firm played (in
later years) an important part in the music trade of Edin-
burgh and Glasgow. The firm of Muir, Wood & Co. were
very active publishers and much sheet music bear their im-
print, having all three address. They published also some
collections as : — Gow's " Second Collection of Strathspey
Reels," and George Thomson's " Select Collection of Original
Scottish Airs." In this instance Thomson's name is entirely
suppressed, it is therefore possible the work may have been
issued without his consent. Another one is " A Collection of
190
Minuets, Cotillions, Allemands...by Charles Stewart, musician
to Mr. Strange," folio. They published also some early
pieces by George F. Graham.
Oliver & Boyd. The head of the firm was Thomas
Oliver and they are well known by
the many beautifully printed collections of songs, editions of
Burns, etc., mainly embellished with woodcuts of the Bewick
school. In addition to the several neat song volumes which
bear their imprint are the following, having music
printed from moveable type : — " The Minstrel, a choice selec-
tion of much admired Scottish Songs... Edinburgh, Oliver &
Co., Netherbow," i2mo; "The English Minstrel, a selection
favourite songs with music Edinburgh, Oliver & Boyd,
Fountain Well, High Street," i2mo, marked on first page as
volume II. This has a frontispiece of a volunteer, and the
outside boards have the imprint of Lane, Newman & Co.,
London." The companion volume to this is " The Scottish
Minstrel," with the names Lane & Newman, and the date
1807, but certainly printed by Oliver & Boyd. Another
" Scottish " and " English " Minstrel are two volumes of the
same size, but quite different in contents ; frontispieces, and
engraved titles, " Edinburgh, printed and published by Oliver
& Boyd," much later than the foregoing, the cover of one
bearing the date 181 5. About this year, Oliver & Boyd pub-
lished a folio volume, with type printed music, entitled " The
Charms of Scottish Melody... Edinburgh, printed by and for
Oliver & Boyd, Baron Grant's Close, High Street," folio,
p.p. 102. The firm, at an earlier date, printed other works,
which were afterwards republished by Crosby (see p. 35). In
1816 and 1 81 8 they published the two fine volumes of "Albyn's
Anthology," by Alexander Campbell.
Penson, Robertson & Co. The firm consisted of
Wm. Penson and
Alexander Robertson, both Edinburgh musicians. In 1801,
Alexander Robertson is described in the directory as a music
engraver, at the head of the Luckenbooths, but in 1809 he is
a music teacher in Libberton's Wynd. Wm. Penson was
also a music teacher in this same year at 6, South James St.
In 181 1 the two had conjoined and commenced business at
47, Princes Street, where they remained in partnership until
1819 or 1820 having also a music academy at 13, George St.
In 1822 Alexander Robertson held the business alone and
191
remained at the same shop until late years (see Robertson).
Penson & Robertson published a quantity of sheet music,
much of which was arranged by one or other of the partners.
Phinn, Thomas. An early Edinburgh music
engraver, whose name is on
Bremner's "Thirty Scots Songs," published in 1757. He
also engraved a work mentioned by David Laing {Introduction
to Johnson's Museum, p. cii) with the title " A Collection of Airs,
etc., for the Violin or German Flute... taken from the best
masters and published in six numbers... to be had at the shop
of Thos. Phinn, engraver, Luckenbooths," oblong 4to, Laing
gives the date circa 1776, but the book must be fifteen or
twenty years earlier.
Purdie, Robert. The founder of a very large and im-
portant Edinburgh business. In 1804
he was a teacher of music in Jollie's Close in the Cannongate,
but in 1805 he had gone to 3, James Street, where he remained
until 1808. In 1809 he had opened a music shop at 35,
Princes Street, and here commenced publishing sheet music,
The number of the premises was changed in 1813 to 71, but
in 1816 it was No. 70. It remained thus until 1828 when it
was changed again to 83, Princes Street, and was so up to
1837. About this date the business was in the hands of John
Purdie at the same address.
Besides the great quantity of sheet music which he pub-
lished he issued several important works, of which the chief
is a collection of Scottish Songs in large octavo, arranged by
R. A. Smith, and the literary contents edited and re-written
by Lady Nairne and some other ladies. This work entitled
"The Scotish Minstrel" extended to six volumes, the first
three of which were reviewed in 1822. The first edition of it
may be distinguished by the address 70, Princes Street, while
the second, in which there are some alterations, by that of
83, Princes Street. The third edition also has this, but it is
from impressions of the plates worked off upon stone, and
lacks the beauty both in the vignette title pages and in the
music of the earlier copies. After the first publication of
"The Scotish Minstrel," an " Irish Minstrel " was put forth
in one volume of the same size and under the same musical
editorship. It appeared, however, that Purdie had infringed
on the copyright of some of the airs used by Thomas Moore
and the first edition was suppressed. It was again re-issued
however with certain of the plates replaced by others. In
1827 another volume of the same size and character was pub-
192
lished, " Select Melodies, with appropriate words, chiefly
original, collected and arranged by R. A. Smith," large 8vo.
Robert and John Purdie, in conjunction with Alexander
Robertson, re-published the Strathspeys and Reels originally
issued by the Gow family.
Read, James. An early music engraver, who worked
for Bremner and Stewart. He cut for
Bremner "A Curious Collection of Scots Tunes. ..James
Read, Sculpt., Edinburgh," oblong folio, published in 1759,
and for Neil Stewart, " A Collection of the newest and best
Reels or Country Dances... James Read, Sculpt.," oblong 4to,
published in 1761. No doubt other work of his about this
time might be identified.
Robertson, Daniel. A music seller with, in 1819,
a shop at 21, South College
Street. He published about, or a little before this date, two
pretty miniature volumes of engraved songs and music, " A
Selection of Scots, English, and Irish Songs Edinburgh,
printed and sold by D. Robertson, music seller, 21, South
College Street,', volume 1 and 2, very small quarto. I have
not yet found any other works bearing his imprint.
Robertson, Alexander. Was originally an en-
graver and afterwards a
music teacher. He was, in 1811, in partnership with Wm.
Penson until 1819-20 (see Penson, Robertson &* Co). He still
kept on the premises, 47, Princes Street, and 13, George
Street, pushed forward the business with great vigour,
and remained until late years. Later on his number in
Princes Street had changed to 39. In addition to sheet music
Robertson published several serial works as " Popular
National Melodies, arranged by James Dewar," folio. Pre-
viously he had himself arranged " The Select Melodies of
Scotland," 4to, published by Penson & Robertson in 1814.
On the breaking up of Nathaniel Gow's business he, along
with Robert Purdie, seems to have acquired the copyright of
the " Strathspey," etc. These were re-issued from freshly
engraved plates and bore Robert & John Purdie's names in
addition to that of Robertson. He published also the new
collections by Nathaniel Gow entitled the " Vocal Melodies
of Scotland," 3 parts, folio; "The Beauties of Niel Gow,"
3 parts, folio ; " The Ancient Curious Collection of Scotland,"
by Nathaniel Gow, 1823, folio; "A Select Collection of
193
original dances, Nath Gow," folio ; " A Collection of Airs,
Reels, and Strathspeys, by the late Niel Gow, junior," folio,
published 1840. Most of these were issued with the address,
39, Princes Street.
Rochead & Son. I n 1804, Andrew Rochead was a
musical instrument maker at i,
Castle Hill. In 1805, a son was in partnership and the firm
was Rochead & Son, at Castle Hill and 4, Greenside Place.
In 181 1, the directory gives 370, Castle Hill, and 1819 and
1822, No. 378. In 1813, they had a shop, 14, Princes Street, this
address is on sheet music. The name is absent from the
directory of 1823, and the business probably ceased. Besides
the usual amount of sheet music Rochead & Son re-published
Urbani's " Select original Scottish Airs," in folio volumes.
They also issued two thin folio books of " A Collection of
original Scottish Airs... the poetry by Allan Ramsay, Burns,
and other eminent Scotch poets," 2 books, folio, circa 1810.
R.OSS, Robert. A music seller, who, towards the close
of the eighteenth century, published
many single half-sheet songs, generally Scottish, and printed
on very thin paper. His address at this time was at the head
of Carruber's Close. His name is found in the subscription
lists of Scottish publications, and as selling Boyd's " Psalm
and Hymn Tunes," 1793. It is also in the directories for 1801
and r8o4- Mr. John Glen, in his " Scottish Dance Music,"
quotes a notice of him dated 1769; he also gives the title page
of a Collection of Reels published by Ross, with the imprint
" at his music shop at Fountain Well." This was issued in
in 1780, oblong 410.
Sibbald, James. An Edinburgh bookseller, who pub-
lished several literary works, includ-
ing an " Edinburgh Magazine, or Literary Miscellany,"
(volume X is for 1789). He appears to have also kept a
music shop in Parliament Square, and from here published
"A Collection of Catches, Canons, Glees, and Duetts, etc....
Antient and Modern... Edinburgh, printed for J. Sibbald,
Parliament Square, and Messrs. Corri & Sutherland," oblong
folio, preface dated 1780. This work was re-published by
Longman & Broderip, and Clementi & Co., as well as by
Nath Gow. Sibbald also issued many single half-sheet songs,
and commenced a continuation of Stewart's " Vocal Maga-
zine," under the title "No. 1, The Vocal Magazine, new
series... Edinburgh, printed for J. Sibbald, Parliament Close,
sold by J. Hamilton, North Bridge, and other music sellers" ;
194
one octave number with twenty songs, and the first portion
of Holden's " Rudiments of Practical Music." The music is
from engraved plates. This was issued about 1802. Sibbald
is said to have died in 1803. His name is in the directory for
1801 with the address 28, Parliament Close.
Stewart, Charles. A printer to the University, who
was in partnership with others
having, in 1797, a printing house at the head of Forrester's
Wynd. In 1809, the office was in Old Bank Close. His
only musical work I have knowledge of is one which was
issued in shilling monthly parts, under the title " The Vocal
Magazine, containing a selection of the most esteemed English,
Scots, and Irish Songs ; antient and modern . . Edinburgh, printed
by C. Stewart & Co., 8vo. The book reached to three
volumes, dated respectively, 1797, 1798, and 1799, and the
music is printed from type. Part XIX, which formed the
commencement of another volume, is dated on the cover 1800.
The work was, however, never carried further, possibly owing
to the changes in the firm. About 1802, another book with
the same title was commenced by J. Sibbald ; of this I have
seen but the first part.
Stewart, Neil. The first notice I can find regarding
this well known Edinburgh music
publisher is an advertisement in the " Edinburgh Evening
Courant," October 20th, 1759; it is to this effect : — "Neil
Stewart, at the sign of the Violin and German Flute, in the
Exchange, has lately arrived from London and brought down
from the best makers a large assortment of music and musical
instruments All sorts of instruments taken to mend." At
the first building of the Exchange in the High Street, opposite
the Cross, the lower frontage consisted of shops (see Arnot's
History of Edinburgh), and Stewart appears to have been
established here as a music seller. On January 24th, 1761,
he advertises again, and has now removed to opposite Black-
friar's "Wynd, possibly to Bremner's old shop, for this was the
latter's address before he removed higher up the street, near
the Cross. The advertisement in the " Courant " has a wood-
cut of a lady playing a guitar prefixed, and runs : — " At Neil
Stewart's musick shop, opposite the head of Blackfrier's
Wynd, Edinburgh, the following instruments may be had,
viz: — Violins at all prices McGibbon's first and second
Collection of Scots Tunes, done on new plates and the best of
paper, Country Dances and Minuets, with McGibbon's Col-
lection of Country Dances and Minuets... (January 24th, 1761).
195
On July 27th, 1761, he again advertises: — " McGibbon's 1st,
2nd, and 3rd Collection of Scots Tunes, neatly engraved ; A
Collection of Scots, English, and Irish Tunes, newly collected
for two guitars, 2/-. Two new numbers of Country Dances,
and one of Minuets ; proposals for printing by subscription a
collection of Marches, Airs, etc., in parts for Violins, German
Flutes, and Hautboys, with bass for Harpsichord with an
alphabetical dictionary of words which occur in music, 12
numbers." It is easy to see that Stewart quickly became a
rival to Bremner, for every publication advertised above is a
copy or a duplicate of others by Bremner. Bremner published
McGibbon from the old plates, while Stewart put forth a rival
edition newly engraved. Stewart also issued a series of
numbers of " Marches and Airs," and of " Reels and Country
Dances," as well as of " Minuets," all in oblong quarto, and
in the same style as Bremner's editions of similar works.
According to Mr. Glen's " Scottish Dance Music," Stewart
removed again to the Exchange, and, in 1770, either he or his
son was, as " Neil Stewart, junior," at a shop in an entry
leading to Miln's Square, facing the Tron Church. From here
he removed to a shop in Parliament Square (or Close as it
was indifferently called) and remained here for some time.
Mr. Glen gives the dates from May, 1773 to 1792, and
that of 1787 for another shop at 40, South Bridge Street.
After 1792 to 1802 they were at 37, South Bridge Street, and
next year at 39, South Bridge Street. The date given for
their cessation of business is December, 1805. In the later
portion of their career the firm was N. & M. Stewart, and
sometimes Stewart & Co. N. & M. were probably sons of the
original Neil Stewart, and they published the usual quantity of
sheet music. The more important of Stewart's collections are
as under : —
1 76 1 A Collection of Scots Tunes, some with variations, for a
Violin, Hautboy, or German Flute.. by William McGibbon,
Edinburgh, printed for and sold by Neil Stewart, at his music
shop, opposite the head of Blackfryer's Wynd, where may
be had a variety of music and musical instruments, at the
London price, oblong folio ; 3 books (advertised as pub-
lished in 1761).
1 761 -2 A Collection of the newest and best Reels, or Country
Dances, adapted for the Violin or German Flute. . Edinburgh,
printed for and sold by Neil Stewart, at his music shop,
opposite Blackfrier's Wynd. .oblong 4to, 9 numbers, the first
of which appeared in 1761.
1761 A Collection of Scots, English, and Irish tunes, for two
guitars, (advertised in 1761).
196
1761-2 A Collection of Marches and Airs, for Violins, German
Flutes, and Hautboys . . published in twelve numbers, by
Neil Stewart, at his music shop, opposite the head of Black-
fryer's Wynd, Edinburgh, where may be had Mr. McGibbon's
Scots Tunes, 3 books ; Pepusch's Airs for two Violins ; A
Collection of Scots, English, and Irish Tunes, for the
Guittar. Several numbers of Scots Reels and Minuets, also
a variety of music and musical instruments, at the London
prices ; oblong 4to.
This Collection of Marches was advertised in the Courant, in July,
1761, the first number being published in August of the same year.
C. 1762 A New Collection of Scots and English Tunes, adapted to
the guittar, with some of the best songs out of the Beggars'
Opera and other curious ballads, printed and sold by Neil
Steuart, at his music shop, opposite the head ot Blackfryer's
Wynd, Edinburgh, oblong 4to. (A copy in the Wighton
Collection- J
C. 1763 Love in a Village, for the Guitar.
C. 1770 A Collection of the newest and best Minuets, adapted for
the Violin, or German Flute. . . .Edinburgh, printed for and
sold by Neil Stewart, at his music shop, opposite the Tron
Church, oblong 4to
C. 1772 A Collection of Favourite Scots Tunes, with variations for
the violin, and a bass for the violoncello and harpsichord,
by the late Mr. Chs. McLean, and other Eminent Masters. .
Edinburgh, printed for and sold by N. Stewart, at his music
shop, opposite the Tron Church, .oblong folio.
C. 1780 A Collection of Strathspey Reels, with a bass for the
Violoncello or Harpsichord, by Alexander McGlashan,
..Edinburgh, printed for A. McGlashan, and sold by Neil
Stewart, at his music shop in Parliament Square, .oblong
folio.
C. 1781 A Collection of Scots Measures, Hornpipes, Jigs, Allmands,
and Cotillions. .. .by Alexander McGlashan, Edinburgh,
printed for the publisher, and sold by Neil Stewart, Parlia-
ment Square . . oblong folio.
C 1786 A Collection of Reels, consisting chiefly of Strathspeys,
Athole Reels, etc, with a bass for the violoncello or harpsi-
chord : Edinburgh, printed and sold bv N. Stewart, at his
music shop, Parliament Square, .oblong folio.
C. 1781-2 A Collection of Strathspey Reels, with a bass for the
violoncello or harpsichord. .. .composed by Wm. Marshall,
printed for Neil Stewart,, and sold at his music shop, Par-
liament Square, Edinburgh, .oblong folio.
C. 1780-5 A Collection of Scots Songs, adapted for a voice and
harpsichord Edinburgh, printed and sold by Neil Stewart,
at his shop, Parliament Square, .folio
A Second Collection of Airs and Marches, for two violins,
German flutes, and hautboys. .. .Edinburgh, printed and
sold by N. Stewart, at his shop, Parliament Close, oblong 4to
197
C. 1780 A Collection of Catches, Canons, Glees, Duettos, etc
Edinburgh, printed for N. Stewart. .. .Parliament Close,
oblong 4to. (This is James Sibbald's Collection of Glees).
C. 1795 A Third Collection of Strathspey Reels, etc.. by Neil
Gow, at Dunkeld. .. .Edinburgh, printed and sold by
N. & M. Stewart, music sellers, 37, South Bridge St.. .folio.
C. 1795 Thirty Scots Songs, adapted for a voice or harpsichord,
the words by Allan Ramsay .. Edinburgh, Book 1st, printed
and sold by N. Stewart & Co., 37, South Bridge Street, folio.
Ditto, a second and third book ; the first two are re-prints
of Bremner's editions ; the third is the one issued by
Stewart, named above.
Of many early works named in the above list there are much later
re-prints, with the South Bridge Street address. Some late sheet music
has thej address, 40, S. Bridge Street, and some other 39, South Bridge
Street.
Sutherland, John. Was a book and music seller at
27, Leith Street, in 1809, but
in 181 1 and onwards, until at least 1830, his address was 9,
Calton Street, at the head of Leith Walk. The accidental
discovery that an apprentice was wanted here formed the
turning point in the career of the Scotch publisher, William
Chambers. Young Chambers was an apprentice here from
1814 to 1819, and on his release set up business for himself in
a small bookstall in Leith Walk. Sutherland published
several collections of music and also a moderate quantity of
sheet music. The following are among those of his publica-
tions which I have seen.
C. 1815 Guida di Musica, being a complete book of Instructions
for Beginners on the Harpsichord or Pianoforte .. by James
Hook. .Edinburgh, printed for and sold by John Sutherland,
at his circulating library, book and music warehouse, Calton
Street, .oblong folio, pictorial title.
C. 1815 Edinburgh Repository of Music, containing the most
select English, Scottish, and Irish Airs, Reels, Strathspeys,
etc., arranged for the German Flute or Violin .... Edinburgh,
printed and sold by J. Sutherland, at his book and music
warehouse, Calton Street, 3 books, small oblong.
C. 1815 Macleod's Collection of Airs, Marches, Waltzes, and
Rondos, carefully arranged for two German Flutes.. Engraved
by W. Hutton. .No. I, II, and III, Edinburgh, printed and
sold by J. Sutherland. .Calton Street, small oblong, 3 books.
C. 1816 Clarke's Collection of Favourite Airs, No. VI.. . .Printed
and sold by J. Sutherland, 9, Calton Street, folio
1818 Miniature Museum of Scotch Songs and Music, written by
Scots Poets, .arranged for the voice and pianoforte by the
most eminent composers. .. .Edinburgh, printed for and
sold by John Sutherland, No. 9, Calton Street.. 2 volumes,
198
3 parts in each volume, small quarto. The whole is engraved
by Walker & Anderson, and the first volume seems to have
been published by them. The preface to the first volume in
the original edition is dated ist April, 1818. The whole
work was afterwards, at a very late period, re-published in
lithography.
Thomson, George. Perhaps he may not have very
full claim to be classed among
music publishers, except so far that he bore the expense and
undertook the sale of his own Collections of Scotch, Welsh,
and Irish Airs.
In September, 1792, Thomson wrote to Robert Burns,
mentioning that with a friend or two he had spent much time
in selecting and collating the most favourite of the Scottish
Melodies, with a view to publication ; that he had engaged
Pleyel, whom he calls the most agreeable composer living, to
put the accompaniments to them, and he asks Burns, where
necessary, to write new words to the tunes at a reasonable
charge. Burns entered into the project, but declined any pay-
ment, an example which the musicians did not follow. Though
Burns wrote some of his finest lyrics for the work, yet the
arrangement of the airs by foreign composers, and Thomson's
entire misconception of what such a book should be, makes the
work not altogether satisfactory. The first set of t wenty five songs
or half-a- volume was issued May ist, 1793, under the title " A
Select Collection of Original Scotish Airs, for the Voice
London, Preston & Son, 97, Strand, for the proprietor," folio
(music engraved, the words of the songs type printed). The
harmonies of this first set are by Pleyel, but owing to the
difficulty of communicating with this musician, who was on
the Continent during the war, the 2nd, 3rd, and 4th sets, pub-
lished some years afterwards, are arranged by Kozeluch.
Haydn was next employed, and then Beethoven, Bishop, and
Hummell. The fifth volume, which, with the cantata of the
" Jolly Beggars, completed the work, was published in 1818.
Thomson was so constantly re-issuing and getting fresh plates
engraved, that it is difficult to give the exact dates of the
various editions. At quite a late date Thomson & Preston
published the songs singly in folio, with a vignette by Stothard.
In 1809, he commenced the publication of his Welsh series,
which ultimately reached to three volumes (vol. 2, 181 1 ; vol.
3, 1814). In 1814 and 1816, he published the first and the
second volumes of his Irish Songs, with the harmonies by
Beethoven. All these works are similar in style to the Scottish
volumes. They are beautifully printed and engraved and
199
have frontispieces to each volume. In 1822, he began the
issue of a small series in royal octavo, which included songs
selected from all three collections; in 1825, this attained to six
volumes, with plates by D. Allan and T. Stothard. About
the time of the first publication of his Scottish work he issued
a set of twelve Sonatas, arranged from Scottish Airs, for the
violin, by Pleyel, folio. All his works are signed on the title
page with his neat autograph.
George Thomson, who was born in 1757, and died in
1 85 1, formed a connecting link between the literary men of
two generations. His daughter married George Hogarth, the
musical writer and critic, and the daughter of Hogarth married
Charles Dickens. There is a portrait of Thomson in the
Scotch National Gallery, which has been twice engraved.
The interesting correspondence between Burns and Thomson
is in most editions of the poet's works. A volume containing
much information concerning Thomson has recently been
published.
Urbani & Liston. Had a shop at 10, Princes Street,
and were extensive Edinburgh
music sellers, but did not publish very much on their own
account except sheet music. Peter Urbani, the senior partner,
was an Italian musician, who was born at Milan about 1749.
He settled in Edinburgh about 1 776 and became one of the lead-
ing concert musicians. He arranged several volumes of Scots
songs and airs, in folio, the first two of which he published
before he had entered into the music business. The title was :
"A Selection of Scots Songs, harmonised and improved
by Peter Urbani, professor of music. Book I : Printed for
the author, and sold at his house, foot of Carrubber's Close,"
folio, circa 1792. Book II, with the same imprint, was pub-
lished in 1794. Book III (which was issued in 1799) and the
later ones, have the name of the firm, Urbani & Liston, 10,
Princes Street. Book IV, circa 1 800-1 ; Books V and VI,
which are dated February, 1805, completed the work. These
six books were re-published in three volumes about 1810-12
by Rochead & Son, from the same plates, and again by John
Sutherland. Another publication was " A Favourite Selec-
tion of Scots Tunes, properly arranged as duettos for two
German flutes, or two violins, by P. Urbani," 2 books, oblong
4to. ; this was again re-printed by Muir, Wood & Co. About
1808-9 Urbani & Liston appear to have ceased business,
which will account for the re-production of the above works
200
by other publishers. Urbani became in embarassed circum-
stances and went to Dublin, where he died in 1816 in his 67th
year.
Walker, George. Had no connection with the
London music publisher of the
same name, but was purely a music engraver, who was in
business in Edinburgh some time near the year 1790 ; one of
his early works, shortly after this date, being the engraving of
William Shepherd's " Collection of Strathspey Reels." It is
not unlikely that he may have been an apprentice of Johnson.
In 1801 his address was " Head of Skinner's Close," and in
1805, at Fountain Well, where he stayed until 1809- 10. He
now went into partnership with William Hutton, with an
address in Foulis Close and here the partnership continued
until 1815-16, when Hutton set up on his own account and
Walker joined John Anderson, the former partner with Mrs.
Johnson. Walker & Anderson were, in 1816, at 42, High St.,
where they remained up to 1828. After 1825, the firm was
styled Walker & Co., and they were in 1829-30 at 2, North
Bridge. Walker's name alone is attached to much Scotch
music, and after the death of James Johnson in 1811 he and
his partners had the entire trade of music engraving and
printing among them. They do not ever appear to have acted
as music sellers or publishers.
Watlen, John. He was, as many of his title pages
inform us, originally of the Royal
Navy, and must have been much of an erratic genius with a
taste for musical composition. Among his musical works are
sonatas, concertos, descriptive works, as " The Siege of
Toulon," etc. Some of these were published by the Edinburgh
music sellers before his own entrance into the music business.
In 1788 his own and his wife's name are placed in the sub-
scripton list of Gow's " Second Collection of Strathspey
Reels," from which it appears he was a music master and
tuner in St. James' Square, Edinburgh. After this he was at
17, Princes Street, from whence he published "The Celebrated
Circus Tunes, performed at Edinburgh this season," folio.
Another set of " Circus Tunes " was also published in numbers
by Stewart & Co. Watlen now opened a music shop at
13, North Bridge, and published sheet songs. " Yarrow Vale,"
his own composition, has this imprint. He, however, cannot
have stayed more than a few months here, but removing to 34,
North Bridge, he, during the last six or seven years of the
century, issued many hundred sheet songs and larger publica-
201
tions. At one time he had a London agency with Mr. F.
Linley, the successor to John Bland, but this was before
Linley removed to Holborn, for his address, as given on
Watlen's sheet songs, was 42, Penton Street, Pentonville.
He next had a London agency at No. 1, Charlotte Row, Long
Lane, Southwark. Watlen's business was pretty extensive, but
towards the end of the century he seems to have fled to avoid
arrest for debt to the sanctuary of Holyrood, and while here
he published sheet songs, one of which is " Sandy, a favourite
Scots song... by Robt. Burns... printed and sold by John
Watlen, at his house, the Hermitage, Abbey Hill, where may
be had his terms for teaching the pianoforte, singing, and
violin, also all his musical works." His Edinburgh career
having come to an end he removed about 1800 to London,
where he recommenced business. (See London section.)
Whyte, ^Afm. He was in business as a music seller
and stationer before 1800 at 1, South
St. Andrew's Street. After 1808, his address became No. 17
in the same street. After 181 1 until 1825, the number was 12,
but in 1826, Wm. Whyte & Co. removed to 13, George Street,
where they were in 1830. Before Whyte entered into partner-
ship he published a quantity of half-sheet Scotch songs with
the address 1, South St. Andrew's Street, or No. 17. With
the first named imprint he published, in 1806 and 1807, two
volumes of a folio Collection of Scotch Songs, with the airs
harmonised by Haydn ; it was issued as a rival to George
Thomson's publication.
Glasgow.
Adams, Alexander. He printed a small volume
named " The Musical Reposi-
tory, a collection of favourite Scotch, English, and Irish Songs,
set to music... Glasgow, printed by Alex Adams, for A. Carrick,
bookseller, Saltmarket, 1799." i2mo., p.p. 278. The book is
nicely printed, the music being from type.
Aird, James. A Glasgow music seller, who published
some half-sheet Scotch songs and airs,
as "Jamie O' the Glen," "The Sow's tail to Geordie," "What
a beau my grannie was," this latter with the address on the
imprint, " New Wynd." His more important works are a
Collection of Reels, in oblong 4to, " A Favourite Collection
of Scots Tunes and Highland Airs by W. McGibbon,
J. Oswald, and others," oblong 4to (this was afterwards re-
202
printed from the old plates by A. McGoun. Aird's better
known work is " A Selection of Scotch, English, Irish and
Foreign Airs adapted to the Fife, Violin, or German Flute...
Glasgow, printed and sold by James Aird," small oblong, the
above being contained on the head of a drum which forms the
pictorial title. The second selection has a representation of
soldiers and sailors on the title page. Mr. Glen fixes the date
of these two selections as 1782; of the third, 1788: fourth,
1794; fifth, 1797; and sixth much later. These volumes,
which contain much curious matter, were re-published by
McFadyen and by George Goulding. It is certain that Aird
himself did not publish any after the fourth. Mr. Glen also
gives the title of a work arranged by Joshua Campbell, and
printed and sold by J. Aird in the Candleriggs, the date of
of which he fixes as 1778, and has ascertained that Aird died
in 1795. The following early trade card belongs to Mr. Arthur
F. Hill, circa 1780, "James Aird, junior, at his shop near
McNair's land, New Street, Glasgow, sells variety of music
and musical instruments, viz., violins, German and common
flutes, fifes, spinets, hautboys, pianofortes, French horns,
clarionets, a great variety of single and double songs ; gilt and
plain writing paper, best Dutch sealing wax and quills, Irish
wafers, for home sale and exportation. Spinets, violins, and
German flutes, with other musical instruments lent out per
month or quarter." On Aird's death his plates were sold to
McGoun and to McFadyen, who both re-printed from them.
McFadyen, Joseph. An extensive music seller in
Glasgow, who was established
in Wilson Street sometime about 1790. He appears to have
founded his business to a certain extent upon the remains of
Aird's. He re-issued some of the latter's publications from
the original plates, including Aird's " Selection of Scotch,
English, Irish, and Foreign Airs"; he added to it the final fifth
and sixth volumes. Another work, in oblong 4-to, is " The
Repository of Scots and Irish Airs... for the harpsichord or
pianoforte." This is the same in title with a similar work for
the German flute published by McGoun ; it is probable that
Aird was the original publisher, and that the plates were dis-
posed of at his death. About 1795. McFadyen published "A
Miscellaneous Collection of the best English and Irish Songs,"
8vo, and perhaps a little later a folio " Collection of Highland
Strathspey Reels... dedicated to Miss Campbell... printed and
sold by J. McFadyen, Wilson Street, Glasgow, Cahusac,
London, and Jas. McMillan, Liverpool." These and others
203
were, in addition to the usual quantity of Scotch vocal music,
in sheets and half-sheets. The latest work of his which I have
noticed is " The Beauties of Melody. . .arranged for the German
flute, by an Amateur, published by J. McFadyen, No. 30,
Wilson Street, Glasgow," small oblong; two volumes, the
second of which is after 181 7.
McGoun, Archibald. His father, Andrew or Archi-
bald McGoun, was a book-
seller and a music seller in 1783, with the address, in 1787 and
1789, — "head Stockwell." In 1799, McGoun, junior, sold
Stewart's "Vocal Magazine," and Archibald McGoun, junior,
ArgyleSt., appears in the directory for 1801. Like McFadyen,
he seems to have bought some of the plates engraved for Aird
and to have re-printed from them. Among which is " A
Favourite Collection of Scots Tunes and Irish Airs, etc. ..by
W. McGibbon, J. Oswald, and others, book 1st... Glasgow,
printed and sold by A. McGoun, at his music shop, Argyle
Street," oblong 4to. Another folio collection is " The
Favourite Short Troop of the 1st Battalion of Breadalbane
Fencibles...by J. H. Rose... Glasgow, printed for and sold by
A. MacGoun, music seller and stationer, Argyle Street," circa
1790, folio. Another, "The Repository of Scots and Irish
Airs, Strathspey Reels, &c, for the German Flute or Fife
printed and sold by A. McGoun, stationer and music seller,
Glasgow, where may be had the Repository for the Harpsi-
chord or Violin," oblong 4to. A work with the same title was
also published by McFadyen. His name is also attached to a
little song book, the music type printed by Oliver & Co.
" The Songster's Favourite Companion, Glasgow, printed for
A. McGoun, music seller, by Oliver & Co., Edinburgh," i2mo,
circa 1810 ; there is also a good deal of half-sheet vocal music
which has his imprint.
Steven, Tames. The directory for 1801 gives him as
at King Street, but shortly after this
date his shop is 35, Wilson Street, and a large number of
half- sheet songs about 1805-10 in date bear this address. At
a much later date than this he published several of R. A.
Smith's songs, including " Jessie, the Flower O'Dumblane,"
the popularity of which drew forth several direct imitations
and piracies.
Taylor, Joseph. Published about 1810-12 a couple
of small oblong volumes for the
flute, entitled " Gale's Pocket Companion, for the German
204
Flute or Violin... selected by the author, Glasgow, printed and
sold by Joseph Taylor, at his music and pianoforte warehouse,
1 8, Hutchinson Street... flutes and violins made and repaired,"
volumes i and 2.
Paislcp.
Blaikie, Andrew. An engraver, whose name occurs
on the title page of " A Collection
of Irish Airs and Jiggs, with variations... by John Murphy,
performer on the union pipes at Eglinton Castle... engraved by
A. Blakie, Paisley," folio, no other imprint, circa 1809-10.
Andrew Blaikie took much interest in the antiquarian study of
Scottish music, and at one time had in his possession at least
a couple of manuscript volumes in tablature, with the dates
1683 and 1692.
Pertl)-
Anderson, J. George Street, a music seller who pub-
lished a few half-sheet songs at the
close of the 1 8th century. One is, "The 111 Wife... London,
printed for and sold by J. Anderson, music seller, George St.,
Perth. ..N.B. Just published Anderson's Flute Companion,
volume 2; also Jenny Bawbee, with 12 variations." The
Flute Companion above named is " Anderson's Pocket Com-
panion of the most approved Highland Strathspeys, Country
Dances, etc., for the German flute, fife, hautboy, and violin...
printed and sold by J. Anderson, music seller, Perth, where
may be had a choice collection of music and instruments,"
oblong 8vo, 2 volumes, circa 1795- 1800.
Bowie & Hill. The senior partner was John Bowie, a
Perth musician, who, as Mr. Glen
points out in his " Scottish Dance Music," entered into business
with T. Hill, in 1803, at a shop in George Street. John Bowie
died in 181 5, but Mr. Glen quotes an advertisement showing
that Hill continued the business alone. Bowie & Hill do not
appear to have published very largely. One sheet in my own
library is " Four New Tunes, for the pianoforte or violin, pub-
lished by John Bowie, with the permission of the different
composers, Edinburgh, printed for and sold by Bowie & Hill,
music sellers, Perth" ; it contains a waltz, with the statement
that it was danced on June 1st, 1803.
'20.S
Brown, J. He was a letterpress printer who printed a
i2mo edition of Ramsay's " Gentle Shep-
herd," with the music to the songs worked from type. The
imprint is: — " At Perth, printed by J. Brown, printer to the
Perth Antiquarian Society, Anno 1786." Another more im-
portant work is, " The Musical Miscellany, a select collection
of the most approved Scots, English, and Irish Songs, set to
music, Perth, printed by J. Brown, 1786," title and frontis-
piece engraved, 8vo. It is an excellent volume of songs, with
the music type printed.
Irisl) music Publisbers.
Belfast
Simms & Mdntyre. 2 4> Hi g h Street, published a
curious volume, entitled : " A
Collection of Ancient Irish Airs, adapted for the harp, violin,
flute, and pipes, by John Mulholland, volume 1, Belfast,
printed by Simms & Mdntyre," volume 11 is dated 1810.
Dublin.
Alday, Paul. Succeeded to the old established music
business which had been carried on for
half-a-century by the Rhames family at 16, Exchange Street.
He acquired this about 181 1, and published sheet music. One of
his earliest pieces to which 1 can fix a date is " Sadler's Ascent,
a favourite waltz... dedicated to the Earl of Belvidere... Dublin,
published by P. Alday, 16, Exchange Street." This is in
commemoration of an unsuccessful attempt to cross the Irish
Channel made by James Sadler, on October 1st, 181 2. The
event produced another sheet song (probably many), "Paddy's
Balloon." Other of Alday's pieces are several sets of Country
Dances on half-sheets, with the imprint " published by
P. Alday (late Rhames' musical circulating library), 16,
Exchange Street." As appears by a notice on one of
J. Power's sheets, Alday was possessed of the copyright of Sir
John Stevenson's compositions, which had formerly belonged
206
to Rhames; these, however, he sold to Power. Before 1824,
Alday had removed to 10, Dame Street, and here he remained
until after 1827, still continuing to issue publications of various
kinds.
AttWOOd, Klizabeth. A Dublin music seller with
the address, 4, Naussau St.
Her stamp or engraved label is found on many publications,
and she is named as agent for the sale of others. She was at
the above address from before 1820 to after 1827. I have not
discovered what work she published on her own account,
if any.
Allen, George. A copper plate engraver who pub-
lished some musical works. One is
" Cambrian Harmony, being a collection of Welsh Airs never
before published, arranged as they were originally performed
by the Ancient Britons... by Richard Roberts, Dublin, pub-
lished for the author, and to be had at his residence, Carnavon,"
folio, circa 1800-10 (Taphouse). This veracious publication of
the never before published tunes coeval with the Druids
opens with the " King's Joy," which tune is " The King shall
enjoy his own again " ; it contains a printed advertisement of
George Allen's, of Smock Alley. He printed and published
several books of sacred music.
Browne, D. I2 > Upper Sackville Street, published
sheet music, vocal pieces, and pianoforte
arrangements sometime between the years 1810-15 to 1820.
Christy, J. He published the second edition of Joseph
C. Walker's " Historical Memoirs of the
Irish Bards," 1818, 2 volumes, 8vo, the music is all engraved.
Cooke, B. He was probably the Bartlett or Bartholo-
mew Cooke, who was a noted oboe player
and father to T. Cooke, the Irish composer. He had, about
1790, a music business in Dublin at 4, Sackville Street, and
from here he published a good deal of sheet music, including
songs, country dances, and instrumental pieces. He also
issued a pirated edition of George Thomson's Selection of
Scots Tunes. About 1799, the business was transferred to
Gough at the same address.
Friendship, a new song or duet. .. .Dublin, published at
Cooke's Music Warehouse, No. 4, Sackville Street.
C. 1795 " The Friar " ("lama Friar of Order's Grey"); "The
Western Sky was purpled o'er "... .Dublin, B. Cooke, at his
pianoforte, harp, and music warehouse, No. 4, Sackville
Street, etc.
207
1796 A Selection of Dances for 1796. (Culwick).
Cooke's Selection of twenty-one favourite original Irish
Airs (never before printed) arranged for the pianoforte, violin,
or flute. .Dublin, published by B. Cooke, at his pianoforte,
harp, and music warehouse, No. 4, Sackville Street, folio
(This was afterwards republished or copied by Gough, his
successor) .
Cooke T. Probably the son of the foregoing, and
apparently the same with T. S. Cooke, the
Irish composer, who was born in Dublin in 1782 (died 1848).
Cooke, at a remarkably early age, commenced musical com-
position, and about 1805-10 was (in partnership with others)
in the music trade. One piece of sheet music having their
imprint is " Bang up, a rondo for the pianoforte, composed by
T. Cooke, Dublin, published at T. Cooke & Co.'s music and
musical instrument warehouse, 45, Dame Street." Their
engraved label is also found pasted over the imprints of other
publishers.
Ellard. A music seller at the " Music Saloon, 27, Lower
Sackville Street. He published some little
sheet music and was the Dublin agent in 18 18- 19 for the
London firm of Phillips & Mayhew, 17, Old Bond Street.
Exshaw, E. A Dublin bookseller who, in 1740, had a
shop on Corkhill. Forty or fifty years
after this he or his successors published a Dublin Journal
" Exshaw's Magazine," with which were given musical
supplements, set up from moveable type. One of these, in my
own library, is a song entitled " De Kilmainham Minit," and
a dance "The Devonshire Minuet," "printed for Exshaw's
Magazine," circa 1785. The tune of the first named is the one
always employed for " The night before Larry was stretched,"
and the song itself is written upon similar lines. I have failed
to find any copies of the magazine in the British Museum
Library, but Dr. Culwick, of Dublin, mentions a copy for the
year 1787.
Goilgh. With the provoking habit of many Irish music
publishers, he gives no initials or Christian
name on his imprints. He succeeded about 1799 to the busi-
ness which had formerly been carried on by B. Cooke, No. 4,
Sackville Street. His publications are very coarsely engraved
and consist in the main of half sheet songs printed on thin
paper. At an early date he issued a pirated edition of
Bunting's first collection, originally published by Preston in
1796, and one of Edward Jones' " Musical and Poetical Relics
20S
of the Welsh Bards," (1784, 1794, 1800, etc). He printed songs
from the opera, "Paul and Virginia" (1800), and from
" Pizarro," by Kelly (1799); also sets of country dances in
folio.
C. 1800 A General Collection of the Ancient Irish Music... by
Edward Bunting, Dublin, published by Gough, at his music
and instrument warehouse, No. 4, Sackville Street, where
may be had Musical Relicks of the Welsh Bards, by Edward
Jones, price 13s. , English edition, £1 14s. i^d. Cooke's
Selection of Irish Music ; the music of Pizzarro by Kelly.,
folio.
C. 1800 Ackee O Ackee [in Paul and Virginia] ; Orphan Bess, (on
this is advertised a new collection of Country Dances for
1800) ; Magery Grinder ; Don't you remember ; and other
half sheet songs.
Goillding & Knevitt. This was the Dublin branch
of the large London firm,
Goulding, D'Almaine & Co. Knevitt seemed to have been
exclusively engaged with the Irish part of the business and
was probably a partner only so far as that portion was
concerned. The Dublin shop was at 7, Westmoreland Street,
and I first find it mentioned on the imprints about 1803. This
was held until about 1820, when the premises were taken over
by Isaac Willis ; the directory shows the latter here in 1824. I
think it is likely that upon giving up the Westmoreland Street
shop they severed their direct connection with Ireland, for I
have found no later trace of the Goulding firm than the
above mentioned date.
Grierson, Boulter. He was the King's printer for
Ireland and as such held certain
privileges. His only musical work that I am acquainted with
is " Trydell's Essays on Music," an early Dublin printed treatise
on the art. The volume consists of 140 pages of letterpress,
and a number of engraved plates of music as examples. The
work was published in 1766, and bears the following title, with
a diagram in the centre, " Two Essays on the theory and
practice of Music... by the Rev. John Trydell... Dublin, printed
for the editor by Boulter Grierson, printer to the King's most
excellent Majesty, 1766," 8vo.
Hill, J. He printed from moveable type a selection of
half-sheet songs taken from the operas then
popular. His address was No. 8, Mary Street. All the
specimens of his work which I have seen appear to date
between 1780 and 1790, and they are invariably printed from
moveable type, not, as generally the case, engraved. They
209
were sold at threepence per song, and much resemble in
character those issued some years before in London by
Fought and by Falkener. Two in my own collection are : —
" The Meadows look Chearful, sung by Miss Hitchcock in
The Poor Soldier... Dublin, printed by J. Hill, price three-
pence," folio ('The Poor Soldier' was acted in 1783), and
" De Nite before Larry was Stretched, a humorous New-gate
song, printed J. Hill, No. 8, Mary Street, Dublin," folio
This is the well known Irish cant song. Dr. Culwick informs
me that he has also several similar specimens of Hill's work.
Hime, M. One of two brothers who, in their time
were (exclusive of Scotland) probably the
largest music publishers out of London. M. & Humphrey
Hime first commenced with a shop in Liverpool, and the
directory for 1790 gives the two in partnership in Castle St.
Shortly after this date M. Hime must have removed to Dublin,
or perhaps already at this date he had a place of business there.
The earliest imprint of his which I have seen, and of this only
one example, gives the address 26, Dame Street, but he cannot
have remained any length of time here, for probably before
1795 he was publishing extensively from his Musical Circulating
Library, No. 34, College Green. From this address Hime
issued a great deal of music of all kinds and was in fact by far
the greatest of Irish music publishers. His music included
all the popular vocal pieces from the operas then performing
in England, and these songs were generally engraved and
printed on half-sheet thin paper, a kind of paper very
characteristic of Irish music sheets from the earliest to a fairly
late date. Hime seems to have taken advantage of the law,
or the laxity of it, regarding the re-publication of English works
in Ireland. Before the Union of 1800 the copyright relations
between the two countries were as unsatisfactory as they now
are between Great Britain and America ; each of the two
islands seems to have been free to pirate the other's work.
Edward Bunting, although an Irishman, appears from the
fact of his issuing his first collection of Irish airs in London,
to have suffered considerably, for nearly every Irish music
publisher issued a pirated copy of his work, more or less badly
engraved. Gough, Hime, Power, and Willis are among these
freebooters. Whether Preston, the original publisher, or
Bunting had any redress against them I cannot say. George
Thomson, of Edinburgh, also suffered similarly. Hime, of
Dublin, used to supply his Liverpool brother with many of
these cheapened works, and William Gardiner in " Music and
210
Friends," tells how he was thus enabled to buy, at a cheap
rate, some of Haydn's works. Michael Kelly also in his
"Reminiscences," mentions (vol. 2, p. 310) how he was
subpoenaed in a law suit, commenced against Hime for pub-
lishing a number of Kelly's compositions, and how he had, in
1 81 3, to travel to Dublin in consequence. After being some
time at 34, College Green, either the number is changed, or
Hime removes to 29, College Green ; this must have been
somewhere about the year 181 2- 13. I have been unable to
fix the precise date of his ceasing business, probably it was
before 1820. By far the greater number of his imprints have
the address, 34, College Green.
C 1795 Four Canzonets and Two Duetts, .dedicated, with permis-
sion, to His Grace the Duke of Leinster. .composed by
Antonio Puzzi, master of music, and composer to his Royal
Highness the Prince Regent of Portugal. .Dublin, printed
for the author by Hime, 26, Dame Street, folio.
Hime's Pocket Book, for the German Flute or Violin,
containing a great variety of the newest and favourite airs,
duets, marches, songs, etc. .. .Dublin, published at Hime's
Musical Circulating Library, 34, College Green.. 6 volumes,
small oblong. (These small oblong flute or violin books
were at one time very popular with all publishers.)
C. 1800 Mrs. Parker's much admired Selection of Strathspeys and
Reels, folio.
A general Collection of Ancient Irish Music. .Bunting,
folio.
Hime's Selection of the most admired original Irish Airs
never before printed.
C 1795-6 She lives in the Valley below, Hook ; The Marriage Day ;
to The Silver Moon; Gary Owen, a favourite dance; Little
1813 Salley ; Werter's Sonnet; Robin Adair; etc., etc., and
many hundred other half-sheet pieces or songs, with the
address 34, College Green, or, at a later date, 29, College
Green.
Holden, Smollet. Dr. Petrie in the preface to his
"Ancient Music of Ireland," 1855,
mentions Smollet Holden, and refers to him as " the most
eminent British composer of military music in his time." He
was the father of Dr. Francis Holden, himself a musician and
a collector of Irish folk melody. Smollet Holden kept a music
shop at 26, Parliament Street, sometime towards the end of
the eighteenth century. From here he issued sheet music and
several very valuable Collections of Irish and other national
melodies. He was also a Freemason and published a small
folio selection of Masonic Songs. The following are some of
his publications.
211
C. 1795 A Selection of Masonic Songs, arranged with choruses in
parts, and respectfully dedicated to the brothers of the most
honourable fraternity of free and accepted Masons, by Br. S.
Holden,. .Dublin, published by S. Holden, at his music
warehouse, Parliament St., 8vo. (Wighton Collection.)
A Collection of Original Welsh Music, for the harp, piano-
forte, flute, or violin, and dedicated to the Prince of Wales. .
Dublin, published by S. Holden, 26, Parliament Street, folio.
(Wighton Collection )
C. 1800 The Child's wish for May (sheet song, same imprint).
Off she goes, the variations by a young lady .... (same
imprint).
C. 1804-6 A Collection of Old Established Irish Slow and Quick
Tunes, arranged for the harp, pianoforte, or bagpipe....
selected and published by S Holden, Parliament Street,
Dublin, 2 vols., folio. (A very interesting and valuable
gathering of Irish music, much of which up to then unprinted.)
A Collection of [24] Quick and Slow Marches, Troops,
etc., for the pianoforte or hatpischord, folio.
A Periodical Collection of Irish Melodies, folio,
Lee. This was a family of music sellers and publishers,
dating from a comparatively early period of the
Irish music trade. The first of the family in this connection
was Sam or Samuel Lee, and he was established at No. 2,
Dame Street, probably about 1760 ; there are, at any
rate, indications that he was publishing near the year 1767.
I am in possession of several half-sheet songs from operas
which were acted in that year, which sheets appear to be of a
contemporary date. He also published half-sheet songs in a
similar style to these from operas acted in 1773 and 1775. All
these half-sheet pieces are beautifully engraved and cleanly
printed on fine thin paper ; they are in very marked contrast
to the work done by the later Dublin publishers. There is an
interesting memory of Sam Lee in O'Keefe's " Recollections,"
vol. 1, p. 320. " The first public performer on the violin of
an Irishman was Sam Lee, the leader of the band at Crow
Street Theatre. He had wit and was proud. One day he
had dined with a pleasant party of friends at Hallogan's
Tavern, over Bally-Bough Bridge, as you enter upon the
Strand leading to Clontarf. On their return home, having
had some words with one of the party, he refused to walk on
the same side of the road with him, as they were coming up
Summer Hill, and crossing over kept on the left hand side ;
the consequence was, he slipped down a steep place and
received some inward hurt, of which he died. He had opened
a music shop on Cork Hill, and afterwards had a coffee house
in Essex Street called " Sam's Coffee-house," both much
212
encouraged and frequented." O'Keefe does not give the date
of Sam Lee's death, but it must have occurred sometime near
1776 or 1777. Michael Kelly also in his "Reminiscences,"
vol. 1, p. 8, incidentally speaks of "honest Sam Lee (father
to Mr. Lee, who now keeps a music shop in Dublin) as being
a celebrated violinist." Sam Lee published a great deal of
music, and after his death was succeeded by Anne Lee,
evidently his widow. She kept on the same shop and
continued publishing, being, no doubt, aided by her younger
son, Edmond Lee. She was in business at No. 2, Dame
Street until after 1781. Meanwhile, John Lee, the elder son,
seems, on the death of his father, to have set up on his own
account, and was, about 1777, at 64, Dame Street, opposite
George Lane, issuing sheet music equally well engraved with
that of his father. About 1780 he removed to different
premises in the same street, No. 70, at the corner of Eustace
Street. His sheet and half-sheet songs with this imprint are
very numerous, and many are songs in the operas then current
in England. He was at 70, Dame Street in 1791, and doubt-
less also some years later.
Before 1788, Anne Lee has either died or handed over her
shop to Edmond Lee, and the two brothers published many
works with a mutual imprint, and others each with their
individual one. Edmond Lee must have been the survivor of
the two, for I find music with his name attached which must
have been printed in the first five or six years of the 19th
century. The Lee family, besides sheet and half-sheet song
music, published several collections. One, which has the im-
print of John Lee, being a collection of Carolan's Airs. I
think it likely that this was first engraved for Sam Lee, as a
re-publication of an earlier edition, and so possibly with regard
to an oblong folio gathering of Jackson's Irish Tunes, which
has Edmund Lee's imprint.
S. Lee
C. 1767-8 Oh, why should I sorrow, sung by Miss Catley, in
Cymon [1767] ..published by Sam Lee, at his music shop,
No. 2, in Dame Street, near Parliament Street.
C. 1767-8 Oh why will you call me again, a particular favourite
song in Cymon. .(same imprint).
C. 1767-8 Tell me cruel Cupid, a favourite song on Love in the
City [1767] . .(many other half-sheet songs from "Cymon,"
" The Golden Pippin " [1573], and other operas).
C. 1775-6 The favourite song sung by Sr. Harry Muff in the last
new opera of the Rival Candidates [1775] • -S. Lee, 2, Dame
Street.
213
Anne Lee
C. 1776 Isaac Mendoza, the Jew's song; in the new favourite opera
of Duenna [1776] . . .published by Anne Lee, No. 2, Dame
Street.
The Mansion of Peace ; Three remarkable Catches ; A
Venetian Duet, and a favourite French Air ; Sweet Poll of
Plymouth; Tally Ho, sung by Miss Wrighton, at Vauxhall;
The Anacreontic Song, as sung at the Crown and Anchor
Tavern (To Anacreon in Heaven), etc., etc. . . .same imprint.
C. 1781-2 Here in cool grot and mossy cell, the last new glee which
gained the prize medal, composed by the late Earl of
Mornington. . . .published by Anne Lee, in Dame St., No. 2.
The Glee gained the prize medal of 1779, and Lord Mornington died
in 1781. This sheet was one of many single catches and glees, published
singly and in collections. One of the collections is: — "Anew edition of
the Gentleman's Catch Book, being a selection of the most admired
catches from every former production. . . .Anne Lee, No. 2, Dame Street,
near the Royal Exchange."
John Lee
C. 1778 Sweep Chimney, a favourite new catch, sung at Vauxhall
.... published by John Lee, No. 64, Dame Street; What
bard, oh Time, sung by Louise in the new opera, The
Duenna ; Miss Jameson's Hunting Song, sung with so much
applause at the Rotunda ; The second new Scotch Ballad,
introduced by Miss Catley, in Cymon, etc., etc., half-sheet
songs (same imprint).
C. 1780 The Favourite Scotch Rondo, sung by Miss Jameson at
the Rotunda, 1778, composed by Hook, .published by John
Lee, No. 70, Dame Street ; Mille Affetti, etc., etc., with a
great quantity of other English and Foreign pieces, songs
from operas, etc , all having same imprint, of various dates.
C. 1791 A Smile from the Girl of my heart, sung in the Woodman
[ 1 79 1 ] . .. .Dublin, published by John Lee, No. 70, Dame
Street, the corner of Eustace Street.
C. 1780 A Favourite Collection of the so much admired Irish
Tunes, the original and genuine composition of Carolan, the
celebrated Irish Bard, set for the harpsichord, violin, and
German flute. . . .Dublin, published by John Lee, at his new
music shop, the corner of Eustace Street, in Dame Street,
No. 70. .folio, p.p. 28.
C. 1 781 A Pocket Book for the German flute or violin, containing
an agreeable variety of the newest and most esteemed airs,
duets, and songs. .. .same imprint, small oblong, 4 volumes,
contains a quick step for the year 1781.
John and Edmond Lee
C. 1788-9 The Branch of the Willow, in the new opera of Marian
[1788]; Patty Clover, and other pieces from the same opera
..published by John and Edmond Lee, Dame Street, Dublin
214
Haydn's 12 Celebrated Ballads. . . .published by John and
Edmond Lee, at No. 70 and No. 2, Dame Street. (In the
copy I have seen, Edmond 's name and address is imperfectly
erased .)
Edmond Lee
C. 1790 Jackson's Celebrated Irish Tunes. .Dublin, published by
Edmond Lee, No. 2, Dame Street, near the Royal Exchange,
oblong folio. (Glen)
(This was probably originally issued by Sam Lee and re-
printed from the old plates by his son.)
Country Dances for 1796. Culwick.
C. 1804 E. Lee's Collection of Country Dances for the present year,
folio, p.p. 12.
C. 1805-6 Green grow the Rashes, a celebrated Scots song, arranged
by Doer. Haydn. Many other half-sheet songs.
Logiers, J. B. Johann Bernard Logiers was the son
and grandson of German musicians.
He was born about 1780 and came to England when he was
ten years of age. He studied the flute and pianoforte and near
the year 1796 married the daughter of a military bandmaster
named Willman, following the regiment to Ireland. He thus
became connected with military music and composed a good
deal of this class, which (it being war time) was much in
request. About 1814 he settled down as an organist at West-
port in Ireland, and now turned his attention to the pianoforte
and the best method of teaching it. He invented and
patented (1814) an instrument which he named the " Chiro-
plast," and by this he is now best remembered. It was a sort
of pianoforte fetter in which the victim's wrists and fingers
were held during practice ; the wrists were permitted to move
sideways by a sliding motion on a rod. This drastic treatment
was supposed to produce a correct position of the hands. The
" chiroplast " is now dead and buried, but the instrument and
his method of instruction at one time had its advocates. In
1 82 1, a Major Hawker sought to give a similar result by a
" Royal patent handmould," which, formed either of wood or
hard leather, was affixed to the palm of each hand.
Logier seems to have kept a music shop, at one time, in
Dublin, at 27, Lower Sackville Street, from whence he issued
sheet music as "The admired air of Paddy Carey Dublin,
published at I. B. Logier's, 27, Lower Sackville Street, circa
1 810. There are also other sheets of like character.
McCalley, John. His address was 33, Moore Street,
and he published sheet music from
about 1785 onwards towards the beginning of the century.
215
Among others with his imprint is : — " Calipip, in the French
opera of Tarara " ; " The New Serenade " (Arise my sleeping
fair) ; " What though a swain of good renown," etc.
McCullah, E. He issued " A Collection of Irish Airs
for the flute, violin, or flageolet,
arranged as duets or solos, 3 vols.... Dublin, published by
E. McCullagh, 1, Royal Arcade," i2mo., circa 1820. About
this date also there is a series of half-sheet Scottish Songs sold
singly, but probably afterwards gathered into a volume.
McDonnell. A music seller and occasional publisher
at the end of the eighteenth century.
One half-sheet song is : — " Geordie Jenkins, an admired
original ballad, as sung by Mr. Spray, with great applause,
composed by T. A. Geary... Dublin, published by McDonnell,
at his pianoforte and music warehouse, No. 2, Church Lane,
College Gn.," circa 1800. Dr. Culwick furnishes another
imprint for the overture to the " Turnpike Gate " [1799],
" 2, Church Lane, and 28, Nassau Street."
McLean. A music seller and publisher of sheet music,
etc., who, about 1810-15, kept a shop at
No. 10, Bachelors' Walk. Besides a good deal of the ordinary
class of sheet music he published a copy of Bunting's first
[1796] collection with the imprint, " Dublin, published at
McLean's Musical Circulating Library, 10, Bachelors' Walk,"
and a small flute book with the same imprint. " The
Amateur's Companion, being a rare selection of Irish and
Scotch Melodies, arranged in a familiar style for the pipes,
flute, flageolet, and violin," oblong 8vo, 3 volumes.
Mainwaring, W. An early Dublin music seller,
with a shop in College Green.
His name is found on the imprint of several English and
Scottish musical publications. One of these is Bremner's
edition of Pasquali's " Thorough Bass," Edinburgh, (1757),
which is, by the title page, sold also by J. Walsh, and
J. Johnson, London, and W. Mainwaring, Dublin. Among
the books formerly belonging to the Sacred Harmonic Society,
now in the possession of the Royal College of Music, is : —
" The Ladies' Amusement, being a new collection of songs,
ballads, etc., with symphonies and thorough bass, by John F.
Lampe, Dublin, printed by James Hoey, for the author, and
sold at Mr. Mainwaring's musick shop, in College Green, and
at Mr. Johnson's, musick seller, in Cheapside," folio, title
printed, music engraved. There are other works which also
bear his name either as publisher or salesman.
216
Mountain, Henry. Was an Irish violinist of ability.
His name is attached to an
arrangement of a glee published by Elizabeth Rhames.
There is a slight notice of him in Kelly's " Reminiscences,"
volume i, p. 8, and it appears that his son was leader of
the band at Covent Garden, and his son's wife the well known
vocalist, Mrs. Mountain. Henry Mountain was in business
as a music seller towards the end of the eighteenth century at
20, Whitefriar Street. This was about 1785 to 1790; near
this latter date he removed to 44, Grafton Street. He pub-
lished sheet and half-sheet songs from the operas of the
" Highland Reel," 1788 ; " No Song, no Supper," etc., and the
pantomime " The Hermit of the Rocks." A publication with
the address 20, Whitefriar Street, is " The Gentleman's Catch
Book, dedicated by permission to the Hibernian Catch Club
by their most humble servant, Henry Mountain."
Neale. The Neale's so far as can be ascertained, were
the first important music publishers in Ireland,
and much mystery surrounds them, for publications bearing
their imprint are of the utmost rarity. Up to present I
know definitely of but six examples — a volume in the National
Library, Dublin, which consists of five separate works bound
together, and a folio in my own collection. I have to thank
Mr. Alfred Moffat, the author of " The Minstrelsy of Ireland "
and other valuable works, for first drawing my attention to the
former, and to Dr. Culwick, of Dublin, for interesting transcripts.
Bunting makes mention (in the preface to the 1840 edition of his
Irish music, p. 4,) of three Irish collections, " One by Burke
Thumoth in 1720*, another by Neill, of Christ Church Yard
soon after, and a third by Cardan's son, patronised by Dean
Delany, about 1747." Petrie, in his Irish work, also appears
to refer to the same work, for on page 150 he says that Bunting
had passed over a certain tune of Carolan's " which appears in
Neal's collection of the works of that composer, published in
their author's life-time, for though that work is now of the
most extreme rarity, I have reason to believe that a copy of it
was in Bunting's possession." Again on p. 157, Petrie says
" I found this air in one of the rare collections of Carolan's
Tunes published during their author's life- time, namely, that
of Burke Thumoth, the date of which, according to Bunting,
is 1720." At p. 39, he again says : — " The tune has been taken
from that very rare publication of Carolan's compositions pub-
lished by O'Neill, of Christ Church Yard, Dublin, about the
* Burke Thumoth's Irish, Scotch, and English Airs, in two books, octavo,
were published by John Simpson, of Sweeting's Alley, London,
certainly not much earlier than 1740 (probably four or five years
later), and although there are later, yet I know of no earlier edition.
217
year 1721." It is pretty evident, from these extracts, that
both Bunting and Petrie had access to a collection of
Carolan's compositions, but it is strange that in every instance
the spelling of the name of the publisher varies, and none of
their spellings coincide with the one engraved on the existing
Neale publications. Nor is any definite title vouchsafed, or
reason for fixing the date at about 1720. As this collection (or
collections) is frequently included in lists of early Irish musical
publications, seemingly from no other source than from those
above referred to, it would be of the utmost interest to
students of Irish music to have full title and description of
contents, should Bunting's or Petrie's copies be still in existence.
Failing this the early publication of Carolan's tunes and the
date of their first appearance in print must remain in a state
of very unsatisfactory uncertainty. The volume in my own
library is in small folio, and printed on one side of the paper
only, its title is " The whole Musick and Songs of the second
part of the Beggar's Opera," and the imprint : — " Dublin,
printed and sold by John and William Neale, in Christ Church
Yard," the music is well engraved, and clearly printed ; the
page following the title-page gives an engraved catalogue of
books, printed and sold by Mr. Neale. Besides the " Second part
of the Beggar's Opera," [i.e. "Polly," 1729] , there are the
operas " Faustus," and " Merlin." The former was acted in
1723, and the latter, which may be " Merlin, or the Devil of
Stonehenge," 1734, or " Merlin, or the British Inchanter and
King Arthur," 1736, as both these were musical pieces. The
style of the engraving of the book and the liklihood that such
a piece as "Merlin" would lose its popularity quickly, all
tend to point that this copy must, have been published by
Neale some years before 1740. The five volumes in the
Dublin library are — a book of "Country Dances"; a first
and second collection of " Airs performed at the Theatre"; a
collection of opera airs for the violin ; and an edition of the
" Beggar's Opera," all in small oblong, with the imprint as
given above, and apparently contempory in date.
The Neales, or the successor of them, built, and opened
on the 2nd of October, 1741, "The New Musick Hall," in
Fishshamble Street (holding 600), where concerts were held,
and which was afterwards used by a musical society with the
Earl of Mornington for president. It was here that Handel's
" Messiah," was first publicly performed. " Faulkner's Journal,"
Dec. 26th, 1741, quoted in Schcelcher's "Life of Handel,"
says : — " Last Wednesday, Mr. Handel had his first oratorios
at Mr. Neal's Music Hall, in Fishshamble Street, to a most
218
grand, polite, and crowdec audience," and in the same Journal
of the 23rd and 27th March, 1742, there is advertised "the
first performance of the Messiah, at the Musick Hall, Fish-
shamble Street. Tickets to be had at the Musick Hall, and
at Mr. Neal's in Christchurch Yard." This is the latest date
I have yet discovered for Neale, an examination of the early
Dublin papers would no doubt reveal some interesting particu-
lars regarding the Neales. The following are the titles of the
above mentioned Neale publications : —
The Whole Musick and Songs of the Second Part of the
Beggar's Opera, sett with basses proper for the violin,
German flute, harpsicord, or spinnet, carefully corrected
from the London edition .... Dublin, printed and sold by
John and William Neale, in Christ Church Yard, where may
be had all the new peices as they come out in London. .Note :
They have choice of English Fidles, small folio.
A Choice Collection of Country Dances, with their proper
tunes, whereof many never before published, and in an easier
method to be understood than ever yet printed .... Dublin,
printed and sold by Iohn and William Neal, in Christ
Church Yard, small oblong.
A Set of the most Cellebrated Airs and Playhouse Tunes
performed at the Theatre. . . .John and William Neale, small
oblong.
A Second Collection (English Airs and Minuets), with
several airs out of the late operas of Otho, Iulius Caesar,
Vespasian, and Rodelinda. .(same imprint), small oblong.
A Third Collection for the Violin of the newest English
Airs and Minuets, with several of the most favourite songs
out of the latest operas. . (same imprint), small oblong.
The Whole Music of the Songs in the Beggar's Opera.,
(same imprint), small oblong.
The following list of "Books, printed and sold by Mr. Neale" is
contained in the small folio of the " Second part of the Beggar's Opera.'
For the Violin.
A Book of English Airs and Minuets, with directions for
learners.
A Book of Scotch Tunes.
A Book of Irish Tunes.
The Songs and Dances in Faustus.
A Second Collection of English Airs and Minuets, with
basses.
The Songs and Dances in Merlin.
A Collection of ye most Cellebrated Playhouse Tunes,
with basses.
A Book of ye Choicest Country Dances.
A Third Collection of English Airs and Minuets, with
basses.
The Beggar's Opera.
219
A Colection of English Songs.
A Colection of Scoth Songs.
A Second Colection of Country Dances.
The Second Part of ye Beggar's Opera.
For the Flute.
A Book of English Airs and Minuets, with directions for
learners.
A Collection of Irish and Scotch Tunes.
A Second Collection of English Airs and Minuets.
The Rudiments or principles of the German Flute.
Some of the above will be recognised with those in the Dublin library.
They each, with one exception, are priced at 2s. 8^d.
Powell, Samuel. He was an early Dublin printer,
who, in a book of Sacred Songs,
employed musical notation set up in moveable type. Dr.
Culwick, of Dublin, possesses a copy of this rare work, the
title being : — " Cantiques Sacrez pour les principales solemnitez
Chretiennes a Dublin chez... Samuel Powell, 1748," i2mo.
The work was published for the use of the Huguenots then
living in Dublin. Gilbert, in his " History of Dublin," says
that the productions from Powell's press excel those of his
contemporaries. He lived in Crane's Court, but in 1762
removed to Dame Street. He died in 1772.
Power Win. The brothers, William and James
Power, were in business as music
sellers at 4, Westmoreland Street in the first few years of the
nineteenth century. In 1807 James Power removed to
London and William Power kept on the Dublin business
under the name, Wm. Power & Co. The brothers published
works in common, their famous publication being Moore's
" Irish Melodies." The imprints of the first six numbers of
this give the two names, but in all copies of the seventh (1818),
and onwards, I have seen, James Power is the sole publisher.
After 1 81 7- 1 8 the London brother, James, seems to have
severed his connections with Dublin, and it also appears from
his name alone being present on the later impressions of the
Melodies, that he alone held the copyright. James Power and
afterwards his widow held the sole right of publishing musical
settings to Thomas Moore's words. William Power's name
as at 4, Westmoreland Street is in the Dublin Directory for
1826-7. The following, with many other works, besides sheet
music have his imprint.
C. 1810 A General Collection of Ancient Irish Music. .E. Bunting,
Dublin, published and sold at Wm. Power's music ware-
house, 4, Westmoreland Street, .and at I. Power's music and
instrument warehouse, 34, Strand, London, folio (re-print
of the 1796 edition).
220
C\ 1812 A Selection of Scottish Melodies. .. .Words by Horace
Twiss, Esq., folio (similar imprint).
1817 A Selection of British Melodies with symphonies. .. .by
Mr. Clifton, and appropriate words by John F. M. Dovaston.
Dublin, published at W. Power's music warehouse, 4, West-
moreland Street, and sold at J. Power's music warehouse, 34,
Strand, folio, volume first only, dated in preface, 1817.
Moore's Irish Melodies; first six numbers.. W. Power,
Dublin, and James Power, London, folio.
C. 1820 A Selection of Oriental Melodies, with symphonies and
accompaniments, by Sir John Stevenson, Mus. Doc, and
characteristic words by Thomas E. Power. . . .Dublin, pub-
lished by William Power, folio.
On the back covers of this is a list of " New Publications by
W. Power." It includes the 7th nnmber of the Melodies, Moore's
" National Airs," and his " Sacred Songs," all of which, so far as I have
seen, bear the imprint of James Power solely : it is possible that William
simply sold them.
RhameS. Like the Lee's, they were another family of
Dublin music sellers during the latter half
of the eighteenth century. Benjamin Rhames was established
at the sign of the "Sun," at 16, Upper Blind Quary," about
or before 1770. He published half-sheet music and was
succeeded in the business by his widow, Elizabeth, before 1775,
at the same address. She issued sheet and half-sheet music in
the same style and at the same address, but later her address
stands as 16, Exchange Street. Gilbert's "Dublin" tells us,
however, that about 1776, Upper Blind Quay, in consequence
of its evil repute, had its name altered to Exchange Street.
Elizabeth Rhames was succeeded by her son, Francis Rhames,
probably near the year 1790-5, and about the year 1811 Paul
Alday took over the business and premises.
Benjamin Rhames
C. 1770-5 The Morning Fresh, set for the harpsichord. .. .Dublin,
published and sold by Benjamin Rhames, at the Sun, on the
Upper Blind Quay, folio half-sheet.
A Favourite Hunting Song.. (Let the Slave of Ambition),
by T. Giordani. . (same imprint) . .and other half-sheet songs,
Elizabeth Rhames
C, 1775-6 Alas 'tis in vain. .Dublin, printed by Elizabeth Rhames.
No. 16, Upper Blind Quay, where she means to carry on the
music business.
C. 1777 A Song in the new Comedy of the School for Scandal
(Here's to the maiden of lovely fifteen) ; also other sheet and
half-sheet songs from the operas :■ — " Fair American " (1782) ;
"Robin Hood" (1784); "Marian" (1788), etc., with the
imprint and address 16, Exchange Street.
221
C. 177S Sr Hugh P r, or the accuser defeated by his own
evidence, a half-sheet song relating to the accusation of
Admiral Keppel by Sir Hugh Palliser in 1778. Songs on the
same subject were printed by several other music publishers.
To fill up the present sheet, has it Jackson's "Morning
Brush," arranged as a Country Dance. Other half-sheets are
various glees.
C. 1780 Twelve Canzonets ...composed and dedicated to Mrs.
Pitt by J. A. Stevenson, M.D., opera 4.... Dublin, printed
foi the author by E. Rhames, at her musical circulating
library, 16, Exchange Street, oblong folio.
F. Rhames published sheet music and a series of country dances on
folio half-sheets, circa 1805.
Rice, John. A publisher of half-sheet songs printed
on the usual thin paper most Dublin pub-
lisher affected. His first address was probably No. 13, Dame
Street, but in 1778 he was at 53, Dame Street, and at a later
date at 5, College Green. The following are some half-sheet
songs with his imprint.
C. 1775 The Country Cousin ; (My Cousin from the Country
came).. I. Rice, No. 13, Dame Street.
C. 1778 The Seige of Gibralter, a favourite new song [1778]....
John Rice, 53, Dame Street.
By my sighs ; Come Hope thou Queen of endless sighs
The admired song of Nothing at all ; How d'ye do ; and other
half-sheet songs (same imprint).
C. 1781-5 Come, come my jolly lads, in Robinson Crusoe [1781]..
John Rice, harpsichord and pianoforte maker, No. 5,
College Green.
Southwell, J. His address about 1800 was 17, Earl
Street. He published sheet music,
among which is " Life let us cherish, a favourite ballad, com-
posed by W. A. Mozart... Dublin, published by J. Southwell,
at the pianoforte and music warehouse, No. 17, Earl Street,
near Sackville Street.
Stokes, Joshua. A music seller in the latter part of
the eighteenth century, with a shop
in Dame Street, opposite Eustace Street. This may have
been the shop afterwards taken by John Lee, then No. 70, for
the numbering of Dame Street seems to have undergone
several changes. Some of Stoke's half-sheet songs are : —
C. 1780 Castle Berry, composed by C. Dibdin, sung by Mr. Ban-
nister in the Metamorphoses [1776]. .Dublin, Joshua Stokes,
Dame Street, opposite Eustace Street, No. 24.
C. 1781-2 Rise beauteous flower.. sung by Mrs. Johnston in the
Lord of the Manor [1781]. .same imprint.
222
C. 1781 What Posies and Roses, .sung in the Agreeable Surprise
[1781]. .Joshua Stokes, 13, Dame Street.
The Lover's Toast ; O Nanny wilt thou fly from me ; Say
Shepherd have you seen my fair ; The Monstrous good song
sung by Miss Palmer at the Rotunda; The Killmain
Volunteer, etc., imprints, Joshua Stokes, 24, Dame Street.
Walker. Published near the end of the 18th century,
" The Hibernian Magazine" ; with this were
given musical supplements printed from moveable type —
songs, country dances, etc.
White, Luke. He was the printer of the first edition
of the well known work " Historical
Memoirs of the Irish Bards, by Joseph C. Walker... Dublin,
printed for the author by Luke White, No. 86, Dame Street,
1786," quarto. This work contains engraved musical plates ;
it was re-published in 2 volumes, octavo, in 181 8.
Willis, Isaac. A music seller and publisher who
took, about 1820, the premises 7,
Westmoreland Street, which had been formerly held by
Goulding & Knevitt. He rapidly developed a large business,
and had an agent in London for his trade there. About 1825
he removed to London and with partners under the name
Willis & Co., did a large business, still keeping on his
Dublin premises. While in Dublin he published a great
quantity of the usual sheet music and several books of songs
by T. Haynes Bayly. One of these works is " Miniature
Lyrics, the poetry by Thos. Haynes Bayly, the airs composed
or selected by Sir J. Stevenson Dublin, published by
I. Willis, music seller and pianoforte maker to the King,"
oblong folio, volume 1, preface dated 1823. Volume 11 followed
next year, and volume in, probably in 1825, was published
with the London address. (See London Section),
Wogan, P. Dr. Culwick favours me with the title of
the following work in his library, " High
Mass and Solemn Vespers, as sung in most of the different
Roman Catholic Chapels throughout the United Kingdom, 2nd
edition... Dublin, printed by P. Wogan, No. 15, Lower
Ormond Quay."
223
%* Since the foregoing sheets have been worked off the following
additional matter has come to hand, or found to have been accidentally
omitted : —
Condon.
Alderman, Rd. A music engraver whose name is attached
to " Six Concertos for the organ or harpsichord, by Thomas
Saunders Dupuis, London, for the author," folio, circa 1760.
Alexander, James. A music engraver whose name is
found on sheet music. He was possibly the same with a
well known flute player. In 1822 and later he was at 101,
Leadenhall Street, from here he published a pretty miniature
volume " Sacred Melodies for the flute, violin, flageolet, or
Kent bugle... London, published and sold by J. Alexander,
101, Leadenhall Street," circa 1830, also "The Flowers of
Emerald Isle," in 8 numbers, small square quarto.
Andrews, H. Some French vocal pieces have the imprint
" printed for H. Andrews, at the musical library, 129, New
Bond Street," circa 1790, this confirms the suggestion that he
was partner with Birchall, for 129, New Bond Street was the
latter's address.
Baker, Thos. A music engraver who engraved " Elegies
Songs and an Ode" by Edward Miller, circa 1765, and
Francis Peacock's " Fifty favourite Scotch Airs," circa 1762.
Bates, T. C. After being in St. John's Square he was at
18, Holywell Street, Strand, in 1822. He was afterwards (in
1824) in partnership with G. Longman (Longman & Bates),
at 6, Ludgate Hill. They both entered into the firm of
Chappell.
Blackman. W. Blackman was followed by J. & S. Black-
man, musical instrument manufacturers, 5, Bridge Street,
South wark, this was about 1845. About five years later the
address was 93, Blackfriar's Road.
Bland, John. He also issued some musical portraits well
engraved. Three are: — J. P. Salomon, dated Dec. 12th, 1792 ;
I. Pleyel, 1793, and W. Cramer, 1794.
Bond, J. 64, Dean Street, Soho, is mentioned in the
directory for 1822 as a music seller and publisher.
Branston, R. He engraved " Six Select Songs and one
Cantata, by James Newton. ..John Johnston, opposite Lan-
caster Court, in the Strand, near Charing Cross," folio circa
224
1774- This address appears as that belonging to Branston on
another portion of the same work. In 1820-30 there was a
wood engraver with the same name and initial.
Bressan. An advertisement of 1724 runs : — " This day is
published Sonatas for a Flute, or Violin and Bass... Composed
by Sig. Barsanti, printed for the author and sold by Mr.
Bressan, musical instrument maker, at the Green door, in
Somerset House Yard, in the Strand, price 5s.
Bride, Richard. He succeeded to H. Waylett's business
in Exeter Change. One piece of sheet music has the imprint
"printed for Richard Bride, at the Black Lyon, in Exeter
Change," circa 1765-70.
Brome, Henry. Was succeeded by Charles Brome at
the sign of the Gun, in St. Paul's Church Yard, who printed
" Tully's Offices," in 1684.
Buck, Thomas & John. Printed an edition of Sternhold
and Hopkin's " Psalmes, with apt notes to sing them withal,"
1630.
Buckinger, J. Published sheet music at his musical
instrument manufactory, 443, Strand ; his name is in the
directories for 1802 and 1807.
Butts, Thomas. Printed " Harmonia Sacra, or a choice
collection of Psalm Tunes, etc in two and three parts
oblong 4to... printed for Thos. Butts, Ratcliffe Row," no date.
Caulfield. A sheet of music, taken probably from a lady's
magazine, circa 1805, gives '• Engraved by Caulfield, 436,
Strand."
Chappell, Saml., & Co. Their names at 50, New Bond
Street are on the covers of Eraser's " Highland Airs," dated
1 816, and also in the directory, 1822.
Clare Court. Some sheet music, circa 1815-20, has the
imprint: — " London, printed and sold at No. 1, Clare Court,
Drury Lane."
Cluer, J. His Pocket Companion for Gentlemen and
Ladies, is advertised as " this day published," in 1724, and the
" New Musical Cards for the violin, hautboy, and flute," in
1725. His initial was J. not T.
Cobb, Thomas. He was probably the engraver employed
by j. Cluer for the beautifully cut music plates which bear
the latter's imprint. " Cobb, Sculp." is on the charming
frontispiece to Cluer's " Pocket Companion," 1724.
225
Cross, Thomas. There is mentioned in a " Catalogue of
Books, printed and published in London in Trinity term,
1697," " Military music, or the art of playing on the Hautbois
explained... printed for Thomas Crosse, in Katharine-weel
Court, on Snow Hill, and sold at musick shops." Cross, also
with this imprint, published a Collection of Songs, set to music
by Purcell and Eccles, " printed and sold by Thos. Cross, in
Katherine Wheel Court, near Holborn Conduit," folio.
Cullen, John. Printed and published " The Compleat
Dancing Master's Companion, containing the Marlborough,
Mr. Isaack's new dance, set by Mr. Paisible, and others
danced at Court on her Majesty's birthday, 1705. The third
book... London, printed by Wm. Pearson, and sold by John
Cullen, at the Buck, between the two Temple Gates, Fleet
Street, and Humfrey Saulter, at the Lute, in St. Paul's
Chtrch Yard," oblong Svo.
Dover, Wm. Was in 1S22 at 6, Newman Row, Lincoln
Inn Fields.
Este, Thomas. He printed W. Bathe's " Introduction
to the Skill of Song." Hawkin's mentions this work as a
later edition of the same author's " Brief Introduction to the
true art of musick, 1584." The former work was printed
without a date. A copy was sold at Rimbault's sale for
£3 12s. od.
Ewer & Co. During the forties ( 1848, etc.) they were at
72, Newgate Street.
Fitzwilliam, J. & Co. No. 8. New Street, Covent
Garden, published sheet music about 1 820-1.
Freeman, James. 5, Little Warwick Street, Charing
Cross, printed and sold "Six Sonatas for the pianoforte or harp-
sichord," by John C. Bach, circa 1775-80.
Galloway, D. Published " Rondos and Airs, with varia-
tions, by L. Dussek... printed and sold by D. Galloway, at his
intrument warehouse, 37, Great Pulteney Street, where may
be had a select variety of modern music," folio, circa 1805.
Galloway, Wm. 21, Welbeck Street, published sheet
music in 1822-24, e t c -
Gawler, Wm. Was an organist, and in 1785 published
" The Hymns and Psalms used at the Asylum, or House of
Refuge, printed for W. Gawler, organist to the Asylum " ;
frontispiece dated October 24th, 1785, large 8vo. A supple-
ment is printed for William Gawler, Lambeth Butts.
226
Green, John. 33, Soho Square, a publisher or agent in
1822-24, etc -
Halliday & Co. 23, Bishopgate Street, were here in 1822.
Hannam, H. 4, London Road, was here in 1822.
Hare, John. Had a music shop as early as 1696, see
Page 135-
Hedgebutt, John. A bookseller, for whom Heptinstall
printed one or more musical works.
Hole, Wm. & Robert. An edition of "Parthenia" was
re-printed from the original plates in 161 3 ; others followed in
1635, 1650, 1659, and a second part >n r689-
Hunt, Richard. In the new edition of Pepy's Diary,
edited by Mr. Wheatley, there are several references to him.
On October 25th, 1661, Pepys, who had kft his lute at Mr.
Hunt's to be mended, called there. Three days later, he went to
Paul's Churchyard to Hunt's and found his theorbo done.
Hunt is again referred to on April 17, 1663, and on August
20th and 21st of the same year.
Jeffes, Abel. " Dwelling in Sermon Lane, neere Paules
Chaine," printed in 1584 "A Brief Introduction to the true
art of Musickc.by William Bathe, oblong 4to (see Hawkins,
p. 356, vol. 3).
Johnson, Mrs. of Cheapside. Her name and initial was
R. Johnson, and she published in 1766 Charles Avison's
" Twelve Concertos."
Jones, Edward. Was the piinter employed by Henry
Playford after the death of his brother. His printing office
was in the Savoy and he worked off Harmonia Sacra, 1688-
1693; Apollo's Banquet, 1690, 1693, etc. An Edward Jones
is mentioned in Mace's " Musick's Monument," 1676, as
possessing a valuable lute.
Jones, C. " All the tunes in the Beggar's Opera, trans-
posed into easy and proper keys for the guittar... London,
printed for C. Jones, opposite Staples Inn, near Holbourn
Barrs, where may be had all sorts of musicke and musical
instruments, both new and second-hand, at the lowest prices,"
circa 1760, 8vo. (Wighton library.)
Kitchen, T., engraved "The Land of Cakes, book 1st, Six
Songs, set to musick in the true Scots taste, to which is added
the Tears of Scotland... London, printed for R. Williams,
T. Kitchen, Sculpt," folio, Laing's list.
227
Linley, F. His prior address was 42, Penton Street,
Pentonville ; he was agent for John W'atlen.
Magazines. Add : " The Christian Magazine," music cut
on wood, circa 1760-70; and "The Ladies' Monthly Museum,
or Polite Repository," Dean & Munday ; volume xx is for
1824, — type printed music.
Major, Samuel. 35, Duke Street, Smithrield, as a music
publisher in the directory for 1822.
Mears, Richard. For extended account see pages 138-9.
Miller, John. "At the signe of the Yiolen, on London
Bridge," was a music and instrument seller, who before 1 71 1
was succeeded by his wife Elizabeth Miller. Mr. Arthur F.
Hill has possession of two very interesting trade cards of
theirs, the later one has "John" erased and "Elizabeth"
substituted. " Mrs. Miller, on London Bridge" is marked on
the title page as selling "The Violin Master Improved,"
dated 171 1, and another work of about the same period.
Millhouse, Wm. 337, Oxford Street, published sheet
music and was a musical imstrument maker here in 1802 to
circa 1820.
Monzani. Both father and son were celebrated flute
players, as well as flute makers. Monzani & Hill were at 28,
Regent Street in 1821.
Newland & Johnston. 36, Southampton Bow, published
sheet music, circa 1818-20.
Pearson, Wm. He gave place to his son in 1736 ; for in
that year A. Pearson printed " A Compleat Melody, or the
Harmony of Sion, A. Pearson, for J. Hodges, at the Looking
Glass on London Bridge, 1736," oblong 8vo.
Peregine, Charles. Printed for Henry Playford the
eleventh edition of " Introduction to the Skdl of Musick,"
1687.
Playford, John. The following are additional notes of his
editions: — " Dancing Master," 14th edition is dated 1709, not
1 71 1, there is a copy in the Wighton Collection. There is a
copy of " New Lessons for the Cithren and Gittern," dated
1652, oblong 8vo in the Euing Library, Glasgow. The first
edition of " A Breefe Introduction to the Skill of Music,"
dated 1654, was sold at Rimbault's sale for £10 10s. od.
" Apollo's Banquet," 1st edition, 1669; 5th, 1687; 6th, 1690;
7th, 1693 i 9^h, 1720. " Second Book of the Musical
228
Companion," 1686; 2nd, 1687; 4th, 1701 ; 5th, 1707; 9th,
1726. " The whole Book of Psalms," 8vo, 1677; and, 1695;
3rd, 1697; 4th, 1698; 5II), 1099; 6th, 1700; 7th, 1701 ; 8th,
1702; 9th, 1707; 12th, 1713; 13th, 1 715 ; 15th, 1719; 16th,
1722; 17th, 1724; 19th, 1738; 20th (with additions by
J. Fox), 1757' " Several New Songs, set to as many new
tunes, by Thos. D'Urfey, Gent., 1684," folio.
Py per, John. The following is a fuller title " Parthenia
Inviolata, or Mayden Musicke for the Virginalls and Bass
Viol, selected out of the compositions of the most famous in
that ait, by Robert Hole... Printed at London for John Pyper,
and are to be sold at his shoppe at Paul's Gate, next into
Cheapside at the Cross Keies," oblong 4to, no date, engraved
on copper, circa 1614. A copy supposed to be unique was sold
at Rimbault's sale for £j 7s. od. See also Notes and Queries,
December nth, 1869.
Rolfe, Wm. He, with Samuel Davis, took out a patent
for improvements in pianofortes, Jan. 31st, 1797. (Briits-
viead's Hist. Pianoforte.)
Shade, G. had also a shop at 1, Parliament Street in
Dublin.
Wright, E. There is in existence a very richly engraved
trade card, " E. Wright, at her music shop under St. Dun-
stan's Church, Fleet Street, makes and sells all sorts of musical
instruments, music books, ruled paper, reeds, wire, and the
best Roman strings, wholesale and retail. N.B. Guittar and
Violin taught at home and abroad," circa 1740. She probably
published music.
Wright, Daniel, senior. Hawkins gives him a bad
character, thus : — " Greene had given some early specimens of
his abilities in the composition of a set of lessons for the harp-
sichord, which he had probably meant to publish, but a copy
having been surreptitiously obtained by one Daniel Wright,
a seller of music and musical instruments, near Furnival's
Inn, who never printed anything that he did not steal, they
were published by him in so very incorrect a manner that the
doctor was necessitated to declare that they were not his com-
positions, and Wright, no less falsely than impudently, asserted
in the public papers that they were." (Hawkins, volume v,
P^e 343-)
Young, James. " Choice Psalms put into Musick, for
three voices, the most of which may be properly enough sung
by any three, with a thorough bass, composed by 'Henry and
229
William Lawes, brothers, servants to his majesty... London,
printed by James Young, for Humphrey Mosely, at Princes
Armes, in S. Paul's Church Yard, and for Richard Wodenothe
at the Star under S. Peter's Church, in Cornhill, 1648," 4to,
type printed. (British Museum.)
Howell. Bristol. He lived in St. John's Street about
1790.
Stourport.
Nicholson, George. In 1799 George Nicholson was at
Ludlow. In 1 801-2 at Poughmill, near Ludlow, from which
places he issued many daintily printed volumes of ballads,
songs, etc., generally illustrated with charming engravings
and woodcuts of the Bewick School. About 1810 he was at
Stourport, and there published " The British Orpheus, being a
selection of two hundred and seventy songs."
Dublin.
Thornton, Robert. Mr. E. R. McClintock Dix, of
Dublin, kindly forwards me a discover}- he has just made
which brings music engraving and publishing to an early date
in Dublin. In the Marsh Library, St. Patrick's, Dublin,
there is a tract : — " Copies of Two Papers written by the late
King Charles II,'' printed by Joseph Ray, and dated 1686.
It has two titlepages identical with each other and between
these is a bookseller's advertisement, of which the following is
a portion : —
" Books printed for and sold by Robert Thornton, book-
seller, at the sign of the Leather Bottle, in Skinner Row
The Choicest New Songs, with Musical Notes, either for
voice or instrument, fairly engraven on copper plates, will
be constantly printed and sold at Twopence. A song by the
said Robert Thornton."
The above implies that the popular half-sheet song, such as
Thomas Cross engraved, was not unknown in Dublin in the
latter part of the seventeenth century and also that music
engraving was practiced in that city. The Robert Thornton
above named first appears as a bookseller, but later, in 1691-2,
he was also a printer.
Neale. Mr. Wm. H. Grattan Plood (M.R.I. A.), informs
me that he has some remembrance of an edition of Allan
Ramsay's " Tea Table Miscellany," with engraved music
dated 1729 published by the Neale family. This may be a
Dublin re-print of the work mentioned at page 182.
230
Instead of a pill imprint the London publishers (especially on
half-sheet music) frequently merely stamped their initials on the lower
portion of the plate, as under : —
IJB John Bland.
R.Br. Robert Bremner.
Rd. Be. Richard Bride.
I.D. Joseph Dale.
P E P. Evans.
Ino F ]
1: F: r John Fentum.
I F— m J
J£ a p m Catherine Fentum.
P.H P- Hodgson.
John Johnston.
L. B I Longman & Broderip.
L&B }
L L & B Longman, Lukey, & Broderip.
"W N William Napier.
A P A. Portal.
T p John Preston.
W R Wm. Randall.
I R John Rutherford.
Sk : T. Skillern.
G S George Smart.
St : T. Straight.
St : & Sk Straight & Skillern.
C # S Charles & Samuel Thompson.
c^p Samuel, Ann, & Peter Thompson.
Vq J.&G. Vogler.
p ^y Peter Welcker.
M W
Maurice \\ hitaker.
Finis.
231
ERR A TA
Page 6 — "Pathway to Musicke," 1596, not 1599.
,, 8 — Bew's "Vocal Music" not dated; one edition adver-
tised in 1 781 as just published.
8, line 31 — For " Mickry," read Mimickry.
28 — For T. Cluer, read J. Cluer.
30— Cobb & Watlen. Motetts, by S. Webbe, is dated
1792, not 1772.
46, line 2 — For Titchbourne, read Tichbourne.
48 — Forster. For gun stock, read gun stocks.
71 — Lewer. Amaryllis, 1746, not 1749.
73, line 31 — For Johnson, read Johnston.
78, line 9 — For 1819, read 1719.
78, line 14 — For Heptingstall, read Heptinstall.
85, line 4 from bottom (in some copies only) — For Del
Figlio, read Dottel Figlio.
86, line 5 from bottom — For Yard, read Church Yard.
97 — 14th edition of Dancing Master, 1709, not 171 1.
169 — Sibbald. 3rd line down should read: "The only
work which I have seen bearing his imprint,"
etc., etc.
214 — Logiers should be Logier.
215 — McCullah should be McCullagh.
Leeds : Printed by Leathley & Angus, Wade Street
Entered at Stationers' Hall.
BOOKS on MUSIC and the VIOLIN
For Sale by
W. E. HILL & SONS,
Her Majesty's Violin Makers,
140, New Bond Street, London, W.
Traditional Tunes.
A Collection of Ballad Airs, chiefly obtained in Yorkshire and
the South of Scotland ; together with their appropriate words
from broadsides and from oral tradition. Collected and edited,
with illustrative notes, by Frank Kidson. Demy 8vo. 6/-.
(An interesting collection of hitherto imprinted Folk melodies). yt^
Old English Country Dances.
Gathered from scarce printed collections, and from manuscripts,
for the Violin. With a short bibliography of old English
Country Dance Books. Edited with notes by Frank Kidson.
Oblong 8vo. 2/6.
(A collection of some of the choicest and least known Old Country
Dance Tunes taken from comparatively little known sources).
Gio: Paolo Maggini : his life and work.
Based on information derived from the archives of the town of
Brescia, and from other sources ; containing three coloured plates
of a Maggini Violin of great beauty, photographs of Brescia, and
Maggini's house, with a facsimile of his hand-writing, and
numerous other illustrations. Small folio. Price, 7/6.
The Sala bue Stradivari
A History and Critical Description of the famous Violin, commonly
called " Le Messie," made by Stradivari in 1716, and afterwards
sold by his son to Count Cozio di Salabue. Illustrated by three
coloured plates Small folio. Price, 7/6.
IN PREPARATION.
The Life and Work of Antonio Stradivari.
An exhaustive and critical account of the great maker and his
work, to be illustrated by plates reproducing his most celebrated
instruments, executed in the highest style of chromo-lithography
from original drawings.
The Life and Work of Gasparo da Salo.
Treating of the origin of the Violin, and the part taken in its
evolution by the makers of the Brescian school. Illustrated by
photogravures.
Further particulars of these two books will be announced shortly.
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